[Nick Meyers]

with the Browser active, command F opens the search window

in the search window there is a pulldown set to “Any Column”
in there, chose TYPE, and write sequence in the box

nick

[Nick Meyers]

if you now what the sequence was called, you can do a search for it within FCP,
and you can search for it within multiple open projects.

you can refine your FCP searches by Type= sequence if you cant remember the name.

nick

[Nick Meyers]

when you import the audio, you have to have a sequence preset checked that has the matching frame rate.
if you have a sequence preset with the wrong frame rate checked, the audio can drift out of sync.

at least that’s what i’ve read

[Nick Meyers]

“Keep everything 23.98. Your DVD player adds pulldown on playback”

that is correct.

[Nick Meyers]

used to be the finder itself would choke if you had too many files in a folder, (10,000 files, say)
but i don’t know what the state of play is these days.

nick

[Nick Meyers]

yeah, FCP will export an XML of whatever you have selected,
so if you select 50 sequences, or put them al in a bin and select that,
that’s what you will export.

however, ALL that info will be in one XML file
wether or not that will be useful, you will have to test.

nick

[Nick Meyers]

oh, so you don’t need a separate 2.0 mix as it’s embedded in the 51.
sorry, i misunderstood your post… to early in the morning for me i guess 🙂

nick

[Nick Meyers]

use MPeg Streamclip to transcode the file to a ProRes format,
Prores422, say,
keep the frame size the same, or un-scaled.

in FCP, open the clip’s item properties, and tick theAnamorphic box.

“Why would a file that is sd dimensions look ws in qtx (shows as 1024 x 576) and 7(shows as 720×404)?”

this is the nature of the anamorphic process
all SD video is actually 4/3.
16/9 images are squeezed when recorded as SD, and unsqueezed when played back.

nick

[Nick Meyers]

actually, my preference for De-interlacing IS to do it in FCP, mainly because there is no single solution that will work for all types of material.

the last big job i did a total de-intelace on i used a combination of single field, and blended fields, depending on the shot.
and sometimes even WITHIN a shot (masking areas of high motion)
to make life simple i just exported a version of each for the whole film then flipped between them.

the best de-interlacer for FCP i’ve used is Graeme Nattres’s SMart De-interlace.
not sure what that goes for these days, but as FCP is EOL you might pick up a bargain.

nick

[Nick Meyers]

but it cant play back 5.1 audio from a 2.0 file, surely?

nick