[Nick Meyers]

dragging is ok, it all depends on where you release the clip.

look closely at the tracks in the timeline.
see a light line, about 2/3rds up?

holding the clip the clip in the lower 2/3rds, your cursor will show a downward arrow, and you get an overwrite edit when you release
in the top 1/3rd you see a right-pointing arrow, and get an insert, which pushes everything afterwards down.

working from the viewer does give you more control.
you have to set your TARGET TRACKS, and there are keyboard commands for that:

F6 plus a number (top row , not number pad) set the video target track
F7&F8 plus a number set the audio.

these days with a lot more audio tracks being the norm, that might not help, so you have to click click click.
sometimes i find the fastest way can be to insert edit a clip into the default tracks, move it to my desired tracks, and tidy up afterwards.

with audio only, i often just drag.
oh, yes… you can drag from the viewer after setting in and outs:
with audio use the little hand icon near the top of the viewer.

nick

[Nick Meyers]

what were PAL and NTSC territories still prefer those frame rates,

so old PAL territories (like Australia where I live) still broadcast at 25fps,
and old NTSC territories want 29.97 (and 23.98?)

nick

[Nick Meyers]

your A/V settings shouldn’t affect your Log & Transfer

to be clear, however, the camera footage would not be NTSC, as that is a Standard Def format.
it may well have a frame rate of 29.97, but that alone does not make it NTSC.

nick

[Nick Meyers]

FCP wont work with RED footage,
you’ll have to get that down converted to 2k Prores.

Resolve might be a good choice for this.

apologies if you wave al this worked out already
nick

[Nick Meyers]

no what you posted was a screen grab from your A/V settings window,

we need to see the sequences settings of the actual sequence you are working in.
right click on the sequence in the browser, and choose “settings”
OR
with that sequence in the timeline, and the timeline active, hit Command Zero (top row , not the number pad)

DONT send a DVD!
i mean Standard deff will be low quality enough,
no need to make it worse by compressing to a DVD!
if your source is DV, and you are doing a lot of subtitling work,
i’d suggest working in a ProRes422 sequence, as your text will look a lot better.

nick

[Nick Meyers]

don’t you do it,
this is a job for an expert
you’d need to MAKE the DCP, and then be able to CHECK the DCP.

get the post house to do it,
or at least talk to them, they will recommend someone.

“I am working on FCP 7 on a 1920×1080 Prores 422 HQ timeline but will be bringing that into a 2k timeline of 1920×804 and swapping everything with their higher res and uncompressed version etc.”

are you saying the original footage was 2k, and you’ve been working with HD proxies?
and now you are doing the re-conform?

that’s not for the light-hearted, either.
the media manager would be a better tool,
a simple copy & paste will mess with any motion effects you’ve done.

often the post house will do this,
but if you think you;re up for it, it can save you some $$ to do it yourself.

nick

[Nick Meyers]

no what you posted was a screen grab from your A/V settings window,

we need to see the sequences settings of the actual sequence you are working in.
right click on the sequence in the browser, and choose “settings”
OR
with that sequence in the timeline, and the timeline active, hit Command Zero (top row , not the number pas)

nick

[Nick Meyers]

i cant really read the faded out image,
but the lines on the text are due to fields, that’ combing is how FCP displays the fields in the canvas she it’s at 100%
it’s also how it will look when viewed on a computer screen, which cant show fields properly.

h264 is risky in FCP,
sometimes it works, but three is a lot of room for weird and unpredictable errors.
sync issues are common.

my best advice for now would be to change you sequence settings to ProRes 422, leave it interlaced
render and export.

if your export is stable, and without errors, then that’s good,
and it’s now your choice what to do about the fields.
you could for instance use compressor to de-interlace it, or even convert it to 50p.

if interlaced is not what you want, next time shoot progressive.
if you need to do a lot of colour correction, Prores422 is better than LT
Premiere Pro and FCPX both work with h264 natively.

cheers,
nick

[Nick Meyers]

have you rendered?

it’ll be a bit lower res if it;s just playing back in RT, unrendered,
especially if it’s DV

“lack of resolution in the both brower window and canvas window”
could be your monitor. what’s it’s highest resolution?

nick

[Nick Meyers]

“some footage with normal speed still have those small lines. I think this could be the H264 setting”

where are you seeing this? n FCP?
can you post another screen grab

i dont think it’s the H264, i suspect a field issue?

“I’ve try to change field dominance to ‘None”
is the footage interlaced?
changing field dominance to none is the worst way to de-interlace it.

“it take hours for export!!”
i trying to decipher your first screen grab: have you changed your sequence settings to ProResLT?
i think that takes longer to process that Prores422 or HQ.

what format is your footage?
what sort of sequence are they in?

“it take hours for export!!”
how long is your sequence?
do you have a lot of effects?
are they rendered?