[Nikolas Bäurle]

The easiest way is to simply open the inspector, go to Audio, click on the green track and change it from stereo to dual mono, then you should see two seperate tracks, click the one off you don’t need. The Audio Komponent Method is better if you need to see the tracks in the timeline, can be very helpful. Personally I prefer the inspector method.

“Always look on the bright side of life” – Monty Python

[Nikolas Bäurle]

For Internet and online content you can go close to 0db. You can get away with peaks going up to 3 db but you still run the risk of overdrive.

For TV broadcast you should keep it at -9db. The important thing for broadcast is to give sound enough headroom so there’s no risk of overdriving. Slightly Overdriven Analog Sound is still workable but with digital overdrive your screwed.

“Always look on the bright side of life” – Monty Python

[Nikolas Bäurle]

Here’s a Freeze Frame Sequence Tutorial:
https://m.youtube.com/watch?v=i77J3A_Vz3E

I’ve never done one myself…but it should be pretty easy

“Always look on the bright side of life” – Monty Python

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[Nikolas Bäurle]

Ripple Training is very good https://www.rippletraining.com
and check out https://www.larryjordan.biz

“Always look on the bright side of life” – Monty Python

[Nikolas Bäurle]

Nice work! It’s interesting how many misconceptions are still out there, especially about the Magnetic Timeline. It’s faster and easier to get roles ready and export separate tracks than the track based method in my opinion. The differences I notice in X compared to Legacy are huge, I work on both. The funny things is my FCPX jobs are in the evenings and my Legacy jobs usually happen during the day, different companies. Whenever I get double shifts those mornings really get painful, the evenings go by like a breeze.

“Always look on the bright side of life” – Monty Python

[Nikolas Bäurle]

I keep on running into roadblocks when using FCP 7:-)

“Always look on the bright side of life” – Monty Python

[Nikolas Bäurle]

Perhaps its not correctly formated. I use 3TB Lacie, bought it, connected it, works.

[Nikolas Bäurle]

Using ProPres 422 (HQ) should give you a clean image, at least on an HDTV. I wouldn’t worry too much about the very slight loss in quality, you really won’t see it.

i haven’t projected in HD, but i do remember screenings of DVDs in PAL always looking good for SD.

the Proxies will keep the same color space. I haven’t worked with AFX Animation codec, but when using ProRes I see no difference, the color correcting I do looks the same when I switch back to optimized. FCPX deals with color very well.

[Nikolas Bäurle]

You could export ProRes444. i don’t know about the animation codec from AFX

[Nikolas Bäurle]

I just tried it out, the proxies keep 16bit. Interesting, the h.264 from my 7D are all 16 bit…?

Whatever you do to the proxies should look the same when you switch back to optimised, but I only use FCPX when dealing with h.264, I don’t know what happens when you go through AFX.