[Nick Meyers]

what is it you ultimately want to do?

if you just want to get to that frame, turn on your TC overlays in the second timeline,
read the TC,
double click on the nest to pop it open,
and type the TC into the TC field, top right of timeline.

if you want to isolate the sections you have edited,
drag the nest-section from the timeline into hte viewer
apple u to make a sup clip (yes of the nested seq!)
that “sub-nest” will appear in the browser.
open it top get just the section of teh original timeline contained in the nest-section

not elegant, but it can get you out of trouble

nick

[Nick Meyers]

yeah,
sounds like you;re importing as a file,

not as a batch list.

try File > Import > Batchlist

nick

[Nick Meyers]

i cant remember exactly how we did it, but we got our FCP rubber bands into Logic without any 3rd party software.

sorry for being so vague, it was a real rush time for us.

we experienced with XML i believe,

and wound up using the copies of the actual (video) media from FCP, so an FCP media Manage was essential.

we were in a similar situation where we had a logic based sound guy.
in the end there were so many problems (a lot had to do with his level of film experience)
that we switched applications and operators to a DSP sound path

cheers,
nick

[Nick Meyers]

i dont know about that rosenblum book.

most of it is him telling how he “saved” this move and that movie,

which can actually be a dangerous mindset for an editor to have.

however, there is a GREAT chapter on how Helen van Dongen worked with Robert Flaherty.

main point: she LISTENED to her director!

how novel! 🙂

i like the “conversations with editors” book a lot as it gives many different viewpoints

cheers,
nick

[Nick Meyers]

next time you go to the menu,

look for the keyboard shortcuts that are next to the commands.

rather than then clicking on the menu command, EXIT the menu,

and use the shortcut you just saw.

do that three times running, and you’ll have learnt the short cut, and not need to go to the menu anymore.

for starters:
Render All is Apple R

also read this article:
https://www.kenstone.net/fcp_homepage/rendering_rt_fcp_4_balis.html

cheers,
nick

[Nick Meyers]

sequences can be batch exported:

https://www.lafcpug.org/tutorials/basic_batch_export.html

if you export as QTMovies, you have access to your entire list of SEQUENCE settings as output settings.

so if there’s something specific you want, create a new sequence preset that reflects that, and it will be available to you when you export as a QTMovie.

not all codecs and frame rates are available in Sequence settings, however,
so if what you want isn’t there,
you’ll have to batch export your sequences with “Current Settings” maybe even as reference movies,

then use compressor.

cheers,
nick

[Nick Meyers]

warning: i;m no expert, so apologies if this is all just made-up nonsense and misinformation!

motion is a much newer app than FCP.

it’s been written in a different way to get it;s “oomph” from different part of the computer.
i think it gets more power from the graphics processor than FCP dies.

i think FCP is drawing on that now more than it used to,
and i imagine it will draw more on that in the future,
as FCP gets re-written.

nick

[Nick Meyers]

1- there is no shortcut to toggle track visibility in FCP 🙁

2- rather than toggle track visibility, causing loss of renders,
work locally by toggling CLIP visibility in the area you are examining:

select clip/s
CONTROL B toggles clip visibility

if you want to turn a bunch of clips off to see one clip
CONTROL S will SOLO selected clips

cheers,
nick

[Nick Meyers]

seems to be, when i do a google on “hello dolly” and 70mm

i know that when projected, films are at the mercy of whatever crackpot happens to be running the projector at the time,
but DVDs???
i think even 70mm comes in various formats & ratios.
but while they can change from film to film,
it should change at random, from release to release.

nick

[Nick Meyers]

i knew there was some reason “patton” stuck in my mind as an example..
i remember reading about it at film school in a very obscure technical book on widescreen formats.
it was shot in “Dimention 150” wich was a lens system i believe,
but for sure the format was 70mm
i’d never realised 1:2.whtever was a ratio until i read about this, and that’s i guess why i remember.

https://www.in70mm.com/news/2003/patton/after_the_battle.htm
https://www.in70mm.com/news/2002/patton/patton.htm

i was really bummed when i visited LA a few years ago,
to find out that there was a widescreen festival on at the Egyptian theatre cinemateque,
and i;d missed all screenings of “Patton” by one day.
the only film left was “Helllo Dolly”!
what a tragedy!

(apologies to fans, and for going OT)
nick