[Steven Gonzales]

I think if you made them layers in photoshop, they would import to Final Cut Pro in layers.

[Steven Gonzales]

You might try using transition handles. Set that to 32, then see if you get handles on each cut point.

If not, maybe throw a 1 frame transition on each cut, then use transition handles set to 32 to force that extra 32 frames.

You can put transitions on every cut by setting your default transition length, then selecting all in the timeline, then drag that selected timeline clip bunch over to the “overwrite with transition” overlay in the canvas.

Of course, you should do all this experimenting in a copy of the sequence.

[Steven Gonzales]

I’d suggest the HVR-M15U, since it will do both HDV and DVCAM and DV.

[Steven Gonzales]

I had sound classes with an old radio guy.

Your comment about the rarity of the use of sidechain made me hunt, and surprisingly it’s in a wiki article, and explained pretty well:

Side-chaining uses the signal level of another input or an equalized version of the original input to control the compression level of the original signal.

https://en.wikipedia.org/wiki/Dynamic_range_compression

[Steven Gonzales]

Are you talking about nesting? Put that sequence inside another sequence, then scale that new nested sequence.

Look up nesting in the User Manual, that may be what you’re trying to do, adjust a whole track at once, which contains already adjusted clips.

[Steven Gonzales]

You need a bus input (sometimes called a side chain) to a compressor plug in. I don’t know if Soundtrack Pro has this (I don’t use it much).

You take your controlling channel into a bus, then that bus as an input to a compressor on your music track. When the controlling channel gets louder, the compressor forces the music track to get quieter.

So look for a plug in compressor that has this ability.

[Steven Gonzales]

Question 1 depends on a lot of things, such as what quality of video you are editing, how complex your timeline is, and how fast your system is.

Question 2 is answered here:

https://www.apple.com/finalcutstudio/specs/

[Steven Gonzales]

Here’s an old link from Andreas Kiel that says about the same thing you found:

“BWF Timestamp is readable since FCP 5.1.2 – but this doesn’t mean that the timestamp is interpreted correctly, since it is interpreted based upon the setup FCP had at launch time.”

https://forums.creativecow.net/thread/30/856234

[Steven Gonzales]

Since it was the Cantar, I wonder if the setting was “C” Compensated (F) Faux mode. In this mode, the assumption is that the sound will be syncing with film converted to video rate.

The sound is recorded at 48048 samples per second, but it is tagged as 48000. This causes a .1% slowdown, perfect for syncing against film transfers at 29.97 or 23.97. However, if the sound was recorded this way, and then you have used reverse telecine to 24, the film is not slowed down.

However, the sound is slowed down due the recording mode used in the Cantar. Here’s the rather confusing way this concept is explained from page 15 of the 2008 Oct. 02 manual:

“The ‘C’ mode is made for challenged post-machines. In a
file digitized at 48kHz, the Format stamp value indicates the
real number of samples per real-second, i.e. 48000, and
the Time stamp is the number of samples since midnight as
if the digitization was done at 48048!
Hence the ‘F’ name (for Fake or Faux) given by Fostex and
FCP to this mode. This is the mode selected by most US
productions. ”

If this is the case, you should probably edit in a 23.976 sequence and conform your 24 reversed clips to that timebase with Cinema Tools, and all your film edit lists will still be fine.

[Steven Gonzales]

What machine were the sound recordings made on? What were the setting on the sound recorder?