[Paul Escandon]

The way you accomplish this isn’t exactly the most obvious – but it will work. First select everything on your timeline. Then drag the entire selection over the canvas window and choose overwrite with transition. It will use whatever transition is set as your default transition. If everything goes right you’ll have cross dissolves at every edit point. There is the possibility of errors happening depending on how your timeline is laid out… and if you have a lot of tracks of video or improper handles on some of the clips you may run into some problems… but go ahead and give it a shot.

* * *
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]

Here’s an alternative that should probably work for you:

In the Log and Capture window, click the capture settings tab and change the device control to non-controllable. Keep capture/input unchanged. Now, hit play on your camera and click capture now. This should get the whole tape as a single clip.. you can the chop into subclips if you need to or just keep the one clip for editing on to a timeline.

* * *
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]

Tom,

Both flavors of ProRes 422 are 10-bit.

I would point you to Apple’s ProRes422 white paper – it’s very informative. It’s here: https://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProRes_WP.pdf

Hope this helps.

* * *
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 use MPEG Streamclip all the time and I make sure that I match my rip settings with that of my timeline. If you are working in DV, then you should set MPEG Streamclip to give you DV 25 quicktime files. It will do this.

* * *
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]

You’re welcome. This is one of those really important settings that a lot of people don’t really even think about. Now you know!

* * *
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]

Wayne,

If you have two timelines open on your desktop the only way I’ve found to get video to show on your canvas for the timeline that is not currently selected is to actually click the tab at the top left of the timeline before you start working in that specific timeline. You’d either have to do that or have two canvases on your desktop as well.

* * *
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 answers you’ve already been given are correct for an external reference monitor – but from the way you phrased your question it seems like to me you were asking about monitoring on a second display (you said instead of dragging your canvas into the window, and you generally don’t do that with an external ref monitor).

So I’m going to answer the question as I understood it – and the answer is pretty easy. In Final Cut, go to View > Video Playback > Digital Cinema Desktop. If you have 2 monitors hooked up to your mac, you’ll see 4 options. You can choose which screen the image gets played back on as well as the sizing of the image. After you’ve made that selection, just turn on video for all frames (CMD+F12 or View > External Video > All Frames) and you’re set.

* * *
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]

Sounds like the Macbook Pro with DVI or DVI to HDMI out is the way to go. That’s how I would do it.

* * *
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]

What are your sequence settings that you’re trying to render the Photo JPEG movie files into?

* * *
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 only way to easily revert back to the default button bar set is to actually save the button bar set when it is at a default state so that you can easily point back to it later. Final Cut doesn’t have an instant way to get back to the default set. So what I would do is, like the previous poster said, right click on each button bar to restore the default, then go Tools > Buttons Bars > Save to save the default. Now you can always point back here after a long and intense day of multiclip editing.

* * *
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