[Nick Meyers]

“3.) how you tell compressor while you do drop all that settings, not to alternate the file names in the output to ensure a smooth relinking later on?”

if they;ve been media managed, all the clips will have unique names
you can set up the droplet to NOT add any suffixes,
or you can use a simple re-namer after the fact.

nick

[Nick Meyers]

i outlined that above.

[Nick Meyers]

” I recorded footage using my Panasonic camcorder… Is there anyway to salvage the sound perhaps from the camera itself?”

camera details would help
BUT…

“When I playback in my camera there is no sound either”

it seems as though you didn’t record sound.

nick

[Nick Meyers]

you’ll want to re-post this in the FCPX Techniques forum.
this one is for FCP7 and under.

nick

[Nick Meyers]

“I also imported an h.264 file to see what its field dominance would be, and it said it was Upper also”

the original clips are displaying as having a field dominance in FCP,
so i’m not so sure Streamclip is a problem here.

in my experience, Streamclip is more stable than Compressor with larger batches.

Bobby, that interlaced scaling would not be an issue as you are not scaling the clips.

nick

[Nick Meyers]

could be they are Psf, “Progressive segmented frame”
2 fields, both of them the same.

nick

[Nick Meyers]

“the current audio device does not support the number of outputs set in the sequence settings audio outputs tab”

that’s just about the monitoring, it wont affect the exporting.
you get an option to down mix to stereo, that’s good.
again, that’s just about monitoring, not exporting

“my file has 6 tracks but 4 of them are blank”

your sequence may still be set to stereo.
compressor is getting a stereo signal from FCP, and just ads 4 blank tracks

“I want to export the file with the same 6 tracks embedded + untouched”
this is how I have been doing it.
hopefully Michael Gissing will also chime in.

in FCP, open your sequence’s settings, go to the Audio Outputs tab.
select 6 outputs.
set all 3 pairs to Dual Mono,
and set all to zero db.

back in the timeline, right click on or near the lock icon, for each track
and choose an output.
track 1 goes to 1, tack 2 to 2, etc.

make sure the audio clips are volume and pan neutral:
select it al, Option Command V to remove attributes pan and volume that you may have added.

i have been doing it this way to deliver files for a DCP.
(I have been exporting the audio separately)

when we tried to play the file in a theatre, the audio system didn’t recognise the tracks,
but we were able to fix that in Quicktime Player 7 (you should have that)
by opening the Properties window,
choosing Sound Tracks > Audio Settings,
and adjusting the track assignment

nick

[Nick Meyers]

weird.
have a look at the item properties of your clips.
are thy upper?

to check for interlaced on a computer, open the files in QUicktime, look for some rapid movement,
and lok for that tell-tale combing.
you won’t see it in FCP unless the canvas is set to 100%:
fast way to do that: select canvas, press and hold the H key

[Nick Meyers]

“I shoot my videos with a Canon T3i, which shoots progressive”

does ONLY shoot progressive?
i’d double check that.
or maybe you shot at a high frame rate (59.whatever) which FCP sees as 29.something but interlaced?

you should sort it out, because putting interlaced footage into a progressive sequence is one way to de-interlace it.
but it’s the worst way.

nick

[Nick Meyers]

totally squished!

have you tagged the clips as “anamorphic”
you shouldn’t, as they’re not.

select all the clips in the timeline,
hit Option Command V, which will open the “remove Attributes” box
select “Distortion” (Maybe its already selected?)
hit ok.

if you have deliberately distorted some of the clips for whatever reason, you will lose that now,
so you’ll need to revisit those clips.

nick