[Paul Dickin]

Hi
Every frame is a keyframe.

[Paul Dickin]

Google has 😉
https://www.short-media.com/forum/showthread.php?t=39267
Is your client using QT7?
Zip the movie to send it to the Windows PC.

[Paul Dickin]

Hi
You need the FCS 5.1 install DVDs (only). So for v5 (or v4.5 etc) you have to have exchanged your old DVDs.
With an upgrade from v5 you use the same serial number.
You get a new serial number with v4.5 or other older upgrades.

[Paul Dickin]

Hi
After a FireWire capture session with a Sony J-30, I turned off the deck (the computer remained powered up, though FCP was closed).
That switch-off was enough to fry the front FW port of a G5 Dual 2.7GHz Mac, and the motherboard had to be replaced (thankfully under Applecare).

Another G5 Dual 2.5 also had a dead front port in the same edit suite, presumably caused in exactly the same way, as the J-30 was shared. However turning the J-30 off whilst connected to the rear FW400 port, or via the hub in am Apple 23″ Cinema Display, caused no such damage.

Reading the linked Sony pdf, whilst it doesn’t specify a disconnection procedure, doing the reverse of the switch-on list WILL STILL cause damage, in the case of a J-30and a G5 Mac front FW port.

[Paul Dickin]

Hi
I worked with an ex-Avid editor who hadn’t understood FCP’s ability to have
a) multiple projects open and active at the same time, and
b) multiple unopened projects active, because the open project was having to constantly refer to timelines from these old project sequences, because these sequences had been dragged and nested into a later project without bringing the sequence’s clips into the active open project’s browser.

Its b) that is the killer. It caused huge project bloat.

My project for a 75min newsreel compliation show was 10MB.
His for a similar compilation was over 200MB, and ground his G4 Mac to a standstill.

The solution is never copy edited Sequences (or In/Out-set parts of Sequences) from an older project (then close the old project). Because your active project will immediately have to invisibly append the WHOLE of the original project into your active project.

If instead you copy only the edited clips, not their enclosing Sequence, into your active project then you don’t get the bloat.

I’m a cautious sort of editor, so I also make sure the master clips to go with these added timeline shots also get included in my active browser, which I do by always keeping the project’s browser assets the same (by doing Save As to create each subsequent project), so my project is always referencing the same ‘instance’ in my active browser.

But a colleague tells me that even if you just copy/paste clips into a new sequence from an old project’s timeline, and they therefore have no browser presence in the latest project, everything works fine, and there is no project bloat.

[Paul Dickin]

Hi
I do this by making intermediate audio exports to .aiff of the full stereo mix, and the stereo Music and Efx (less VO) mix, then duplicating the Sequence, and replacing the audio for my two stereo pairs, then use Edit to Tape to lay it all down on Tks1-4 of the DigiBeta tape, at the same time as the video.

[Paul Dickin]

https://www.adobe.com/aboutadobe/pressroom/pressreleases/200701/010407ProductionStudio.html

[Paul Dickin]

[Scottish Editor] “Can I directly upgrade to 5.1.2 from 5.0.4?”
No.
If you are in Scotland the you have until March 19th to send off your Install disk to be exchanged for the paid upgrade:
https://www.apple.com/uk/universal/crossgrade

[Paul Dickin]

Hi
The non-square pixel notion seems to have come about as a solution to digitally encoding NTSC or PAL formats without having to run the video tape at different linear speeds, as in Beta SP or VHS.
A standard sampling rate of 13.5MHz can be applied for both formats, each keeping its own frame-rate, if the pixels are distorted to non-square by a factor of 0.9 for NTSC and 1.1 for PAL (both figures approximate).

[Paul Dickin]

Hi
Once you have copied and pasted your timeline to a new PAL Sequence, select ALL the video clips, and in the Edit Menu>Remove Attributes select Distort and click to remove the -20% vertical distortion that FCP has applied in the distort field of the Motion tab.
Get rid of any trace of NTSC-format rendering to be on the safe side.