[Nick Meyers]

before.
DCP is where you package your finished elements,
not create them.

you can create subs in FCP if you want.
a friend is working on a subtitled movie and her team used Inqscribe,
which apparently made for fast work.

i’ve no idea how you then get your subs into the DCP.

nick

[Nick Meyers]

In the log &capture window, one of the pans has a checkbox “capture each shot as a separate file”
Or something like that, sorry not in front of FCP right now.

Nick

[Nick Meyers]

that all seems like very good advice.

the answer to point 3:
” I am a total newbie on this. How do most people do this? Hire a post production company?”

is pretty much YES

however, if you want to continue on your own, give yourself LOTS of time for trial and error,
and don’t even bother with the full 100 minutes until you are on top of the process.

do you have a short promo or trailer for the film? use that.

nick

[Nick Meyers]

i’ll confess i don’t understand a lot of that!

but you could save yourself a step and export as WAVE from FCP.
it’s an option when you export with quicktime conversion.

nick

[Nick Meyers]

actualy the image mask filter can take video files too, i’m pretty sure

the reconnect idea is interesting,
best approach to that might be to copy the clip into a brand new project, and see what comes up in the reconnect window.

nick

[Nick Meyers]

“(I do not want to do it from the browser, because the in/out points and timecodes don’t match) ”

there is a very simple way to fix that.
however it works by having MASTER CLIPS in the browser of all clips, so make sure that it the case

at the point where you have all 10 clips, BLADE ALL the clips,
trimming them to the same in-point.

now, park on the first frame of your 10-clip stack,
and one by one select a clip, and match frame it into the viewer (f)

this will update the in-point of the browser version of the clip,
and you are now ready to create a multiclip from the browser, syncing by in-point.

nick

[Nick Meyers]

“I did delete the preferences and it didn’t seem to change the behaviour, but I did lose my nice screen layout presets which is a bummer.”

ah, yes, it pays to have a good clean set of preferences backed up.

“I have multiple sequences of progressive edits in this big project, would I free up some ram if I deleted these older sequences?”

no.

“What are other ways I can free up RAM in the project?”

its not about the project really, its more about the amount of RAM that FCP is using for displaying the RT effects.
there is some control over that in the FCP system prefs / render & cache tab.

“And how do I disable the green bar RT effects? This is a new concept to me.”

yes, i guess i say that like it’s a simple thing to do, and it can be depending on your timeline, and what you are editing
for me it has been simple enough, as i work on projects with lots of subtitles. they soak up the RT, and what happens is the first 50-100 or so might be green, then they go orange, and playback is choppy.
but as the subs are all on one track they can be dealt with easily (it pays t be organised)

the trick i use is to have a blank track (with visibility turned off) above the subtitle track, and i just bump the earlier subs up into that track. (select them with the track tool, and option + up arrow)

as i say the remaining ones need a little reminder, so they get bumped up too, and then bumped back down, and FCP re-thinks the RAM allocation for the green effects.

so that works for me.
of course RENDERING the earlier part of the timeline would also work!

so there’s a couple of ideas that might help
nick

[Nick Meyers]

FCP has only so-much RAM allocation for “green” RT effects
once that is used up, RT effects go “orange”

after that, you can disable some of the green ones, but the orange one stay orange until you force FCP to re-think them,
by turning them off & on, or nudging them as you have done.

i don’t know why yours needed a double or triple nudge.
that’s weird, and when things get weird in FCP it’s time to trash your prefs

nick

[Nick Meyers]

have you converted your footage to Prores?
FCP does not like H264, and will react in unpredictable ways if you try to use it.

nick

[Nick Meyers]

you don’t say what your current format is.
kind of hard to advise without knowing that.

if you are 25fps, then yes your method would work
in fact you could also just useFCPs “Share” function and make the DVD direct from your timeline

other frame rates make things trickier

you really are best off exporting a quicktime movie, same settings, self contained.

then you need to do a standards conversion on that file.
as steve said the 2 simplest choices are Compressor or Nattress

i’m a bit old-school when it comes to exports etc, and most of the time i tend to export a Quicktime movie, same settings, from FCP,
then i do any conversions in Compressor, or even Quicktime for simple one-offs.
this method does not tie up FCP with needless conversions.

Share will not tie up FCP, either.

nick