[Nick Meyers]

yeah, frame rate issue.

once you have your preferences set up the way you like them,
it makes sense to back them up,
then when you need to trash them again, replace them with the backup.
this can save you lots of time

or use Digital Rebellion’s Preference Manager
https://www.digitalrebellion.com/prefman/

nick

[Nick Meyers]

a 16 point garbage matte is what you need to define the areas you want to black out or blur

if you want to just black them out, the you can lay some slug or colour over the entire timeline,
and apply the 16pt garbage matte to that

for blurring, double the clip up onto a higher track
use the garbage matter, AND a blur filter

nick

[Nick Meyers]

you can’t do the renaming process from the timeline,
it only works from the browser

this shouldn’t be a problem IF you have a good master / affiliate relationship between the timeline clips and the browser clips.

if you do, then re-naming the browser clips will indeed update the timeline clips.
if the browser clips are still PROXY, then renaming them won’t do anything.

if the timeline clips DONT refer back to the browser clips,
then you can create new master clips from that sequence.
select the sequence in the borrower, and go Tools Menu > Create Master clips

if most of your timeline clips do refer to the browser, but some don’t,
this will just make new masters for the ones that don’t

this will also give you master clips for ALL CLIPS, including any generators , like text. colour or slug.
in my work this leads to problems (i often have subtitles with the subtitle text in the generator name,
also large dis-abled text clips with descriptive names. if one gets copied and renamed, both instances will have the new name)
so i’d make a copy of the sequence, and remove all text, then Create Master Clips.

then do the re-naming.

if your browser clips are scattered throughout many bins,
then simply do a search in the browser for “Source contains HQ”
or the name of the folder in which your HQ clips are residing
you’ll get a window with all the HQ clips, and you can rename just those

nick

[Nick Meyers]

set the canvas to “Image & Wireframe”
now you can grab that wireframe and make the image larger or smaller.
if you hold SHIFT while dragging the wireframe, it DISTORTS, so you can squash or stretch it.

nick

[Nick Meyers]

what are the format the photos are in?
if they’re already jpeg, i don’t think changing them to something else will make them any better for using in FCP

nick

[Nick Meyers]

jpegs dopnt deteriorate just by opening them.
they can lose quality if you open them, edit and save them.
if you edit them every time you open them, then yes you’d start to notice some loss after a while,
but working with them in FCP is not doing that.

nick

[Nick Meyers]

video is 48khz, and more oftener than not, it;s 24bit these days
your final video will be 48k, so convert your audio now, using the “Best” setting in Compressor

cheers,
nick

[Nick Meyers]

23.98 and 23.976 are the same frame rate, just different names
24fps really is a different frame rate.

if you use it in a 23.976 FCP timeline, FCP will just drop a frame every now and then to make up the difference.
i think it’s something like 1 frame every 40 seconds or so,
so theres a good chance it’ll never get noticed!

you project is a music video i believe, so sync is kind of important

your 24 fps clips will stay in sync with he 23.976 clips, (by FCP dropping one frame every 1000)
BUT you won’t be able to make a multiclip with them.
so you’d need to edit without multiclips, or at least without the 24 and 23.976 clips in the same multi.

you can “Conform” the 24fps clips to 23.976 using Cinema Tools, which will simply change the frame rate, and make the clip play ever so slightly slower.
no change in picture quality, and its really fast.
you can make multiclips, BUT the 24fps stuff will drift a bit, sync wise.
it’ll be a few frames out by the end of the song.
but you could deal with that, slipping the clips further into the song.
its unlikely would have sync issue within any one shot.

cheers,
nick

[Nick Meyers]

they’re the same thing.
people use 23.98 as its a bit easier to say/write than 23.976

if you shot with either of those frame rates,
then just let the footage go through compressor (or whatever) without modifying the frame rate.

cheers,
nick

[Nick Meyers]

he wants the process to be transparent, with no artefacts.

nick