[Paul Escandon]

Yeah – I’ve wished for this feature for a while.

The easiest way to do it is highlight the clip in the timeline and Reveal Master Clip (SHIFT+F) – that will highlight it in the browser. You can then change the label color or use another shortcut (CMD+OPT+1, CMD+OPT+2, etc). The only drawback to this is it will highlight all the instances of this clip on the timeline with this same color, which you may not want.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Automatic Duck Pro Import FCP – https://www.automaticduck.com/products/pifcp/

They make great products and I’m a happy customer of Pro Import AE.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

I like Apple ProRes 422 for HD stuff these days on faster machines with FCS 2. I don’t have really any experience in Photo JPEG for editing but only when I want to compress something for transport on the web. You might want to give DVCPRO HD a try and see how that works for you. I edit natively a lot with DVCPRO HD coming into a Kona 3 and the results are nice.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Walter,

I’ve heard you mention before that your company was already authoring blu-ray and I was wondering if you could provide me with some details on the hardware you’re using (internal or external drive? manufacturer?) as well as software? Are you using Adobe Encore?

What are your thoughts on the authoring process as compared to SD DVD’s and DVD Studio Pro? If you’ve answered this before please point me to that post. Thanks!

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Let’s start with the first question…

It’s pretty important to know whether or not you’re editing in DV or HDV. First of all – you need to make sure that you shot in HDV if you pan on editing in HDV. Make sure you verify this. Also, the computer will not automatically capture standard def just because your computer is slow – you have to explicitly tell it what and how to capture. In Final Cut this is generally determined by the “Easy Setup” that you use. If you use the Easy Setup for DV – then it will attempt to capture DV. If you use t he Easy Setup for HDV then it will attemp to capture in HDV. Also, there is usually a setting on the camera that let’s you select how you are outputting the video. If you shot in DV, then your only output option is DV. If you shot in HDV, then on most cameras you can choose to capture in HDV or down convert to DV on the fly. You need to look into these things.

The red bar up top means that the settings of your clip are not matching your sequence settings. Click in the timeline and go to Sequence > Settings. Take a look at that window and see what it is set to. I’m assuming it’s HDV or DV. Then, look at the clips in your browser and scroll until you can see the frame size property. This should also give you an idea on if the clips were captured in HDV or DV.

Also, your eMac is probably not going to handle HDV footage very well, if at all. Can you tell me what version of Final Cut you are using as well as what model of camera you have? I might be able to give you more insight with more details.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

It sounds to me like you may have slipped out of sync the audio in the main timeline (where your nest is placed). This can happen just as you can slip out of sync the audio tracks on a regular track. This is also consistent with the fact that when you open up the nested sequence the audio is correct..

I would first investigate that. I’m assuming you would know if you accidentally slipped the audio out of sync at some point as there is usually a visual + or – indicator when that happens… but it definitely can happen. When you copied the tracks in the nest back to the original timeline and made a new nest, is the problem gone?

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

I think it would be safe to assume that they don’t read every post on these forums as I’m not even able to read every post on these forums and I spend a lot of time on here.

If you have a problem or suggestion then I would take Shane’s suggestion.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

The official answer to that is NO, but I’ve wondered myself what would happen if you take the Quicktime component from a Mac that has the ProRes422 codec and transferred it to a Mac that doesn’t.

I’m not saying to do this – I’m just wondering OUT LOUD if that would work.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

Phil,

I’ve done similar things (capturing SD via Kona 3 as DVCPRO HD vs. capturing SD native and upscaling on an FCP timeline) and both Thom and Walter are making good points. However, I would not categorize the Kona process as “MUCH CLEANER” – I mean it is definitely the better way for reasons that Thom explained… but visually the difference is not HUGE in the end.

I think you might be expecting too much and I am sure that there is no problem with your Kona 2 card whatsoever. The general rule of thumb is that it’s better to let hardware to do scaling – but these days the way software does it is really not that bad.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University

[Paul Escandon]

I don’t know about the reports you’re referencing about the speed differences – but in direct response to your questions about PCI-e and PCI-X – I would definitely go with the newer technology which is PCI-e. PCI-X is considerably slower and already fading fast. I would go with faster and newer.

* * *
Paul Escandon
Producer | Director | Editor
Apple Certified Trainer – Final Cut Pro
Oremus Productions
http://www.oremusproductions.com
– –
Adjunct Professor of Media
John Paul the Great Catholic University