[Nick Meyers]

i’d suggest exporting your film as a quicktime move, same settings, self contained.

then use that single file as a source for your TIFFs,
either from FCP, or Quicktime.

nick

[Nick Meyers]

hang on… that’s a standard FCP effect, isn’t it? not a 3rd party one.
well that;s weird,
as i say FCP is working for me with all it’s native effects.
i dont even know where they live.

re-installing FCP wont take hours.
just re-intall the app, NOT all the extra media, etc. that’s on the other disks.

nick

[Nick Meyers]

FCP has worked OK for me under Yosemite, bar one problem.

if your launch is hanging on loading that specific effect,
the first thing to try would b e to REMOVE that effect

go to you System Drive / Library / Application Support / Final Cut Pro System Support / Plugins
you can create a new folder within Final Cut Pro System Support for your removed plugins.
move the troublesome ones into it.

the problem i mentioned?
the new OS must have some slightly different way of using eye-dropped colour pickers
so colour picking, based on existing eye dropper icons in FCP doesn’t work.
in MOST cases you can click on the colour swatch, and open the colour picker window, and use it’s eye dropper,
BUT colour matching in the colour correction tools doesn’t work.
if you do a lot of Colour Correction in FCP you should consider reverting to your previous OS

one you’ve figured out which of your plugins work and which don’t,
it would be helpful to post a list back here.

nick

[Nick Meyers]

good point!
it’s not different.
that’s probably a simpler way to go.

nick

[Nick Meyers]

i should add that these options sort of assume you are NOT going back to the RED footage,
as i don’t think you can use those files in CT or Compressor.

nick

[Nick Meyers]

copy the 23.976 file
open the copy into CinemaTools,
and “Conform” it to 25 fps.

it will now sync with the other clips,
however you wont be able to use it in a multiclip,
you’ll have to layer that one clip, and extract the best moments.

the way FCP deals with the frame rate difference is crude: it simply drops one frame every second.
that may or may not be noticeable in your final edit
when you’ve done cutting, if any particular instance of the shot sticks out too much, you can replace it with the original that’s paying a bit slow.

another approach is to use optical flow tools in compressor to squish the 25 frames into 24, but it’s slow and could look weird.

nick

[Nick Meyers]

sure, that’l work.
however…

i’d say wait till you’re done editing till you do this, as you wont get any RT with a non-standadrd sequence size.

and if you render as you go, it; would be pretty simple to export it as-is,
and then run that through compressor, using it;s cropping function in the Geometry tab.
it;s simple, and probably faster than FCP.
you dot have to drop the quality at all, just use a Prores codec, even the same one you’ve been cutting with.

i’d also say that “2.35” is not a common ratio these days, even though it’s a common TERM.
the ratio we’ve been delivering lately is 2.40:1

also, who or what are you making this for?
find out what you actually need to deliver.

cheers,
nick

[Nick Meyers]

you want to post this in the FC X techniques forum
this is for FCP & and under.

however, the simplest approach would be to fix the dead pixel BEFORE you do the stabilising.

nick

[Nick Meyers]

sorry, bad news:
there is no solution.
he’s stuck with the blended frames.
cant believe he got rid of the camera original.
and the moral of the story is…

nick

[Nick Meyers]

same reel, same TC?
FCP will see those as dupes

simple solution is to give them unique reel#s

nick