[Steven Gonzales]

There is a long legal history, and a great benefit to society, in prohibiting libel and slander.

Such statements can result in serious civil penalties, and with good reason. Making false statements that affect the reputation of a person or business entity can have a catastrophic effect on them.

The internet is a form of publishing, and must abide by the same legal and moral conventions as any other publishing.

Free speech is not hate speech, and it is rightfully restricted to truthful statements.

[Steven Gonzales]

Perhaps you have a Norton disk utility or the OS X Filevault running, or some other application that interrupts the normal disc reading and writing with some process? I don’t know if journaling might also affect performance, but maybe that is on for your new drive. Perhaps there is a firewall or internet sharing?

Maybe you should look at the activity monitor (applications:utilities:activity monitor), and that might give you some culprits that are tying up the CPU).

[Steven Gonzales]

Have you investigated the Trim Edit Window? Go to the transition between two cips in the timeline. Use edit selection tool or double click with the roll or ripple tool, then you will see the trim edit window. Click on the side that you want to edit, so that only that side has a green line over it. Play to the frame you want, then make that the inpoint (keyboard shortcut “i”, or there’s many other ways to do it).

Is this something useful?

[Steven Gonzales]

While reading all the forums, I’m sure you’ve seen postings that the most stable combination for Final Cut Pro stated by most people is Mac OS 10.3.8 and the latest Quicktime 6 (not 7) version.

It probably doesn’t do you any good to take your specific problem and interpret that as a blanket condemnation of specific software, and then post to a forum dedicated to that software.

[Steven Gonzales]

Perhaps you captured with handles?

Perhaps when you imported the batch list into final cut, your sequence setting was not a 29.97 timebase. If you import a batch list with a sequence setting of 24 or 23.98, all frame number in the timecode of the batch list above 23 will be converted. A timecode of 1:01:30:29 becomes 01:01:31:05. This will cause the capture to be incorrect.

Another possibility is you need to calibrate your decks timecode offset as described in the Final Cut manual.

I hope this might help.

[Steven Gonzales]

Walter’s advice is good. I work as a adjunct faculty at a film school, and a lot of students have taught themselves Final Cut.

However, many times they are unaware of some basic features, such as the use of contextual menus or the tool pallette.

A great way to go is to play with the program for a while, and then use the tutorial, and then skim the user manual, but completely study the table of contents. That way, when you want to do something new, you will remember that the feature was mentioned in the table of contents, and you can read the detail at that time.

A small amount of study will pay off in a much greater understanding of the program. Walter could have spelled out the answer specifically, but he’s doing you a huge favor by suggesting the tutorial.

[Steven Gonzales]

What is Tri-level Sync?

The sync reference going to a camera defines when each frame begins to scan, in fact, when each line in each frame begins to scan, as it builds the entire video image. For NTSC analog video, the sync signal consists of a Blanking Pulse (sync pulse + color burst + “back porch”) followed by the video image data. This sync information is repeated every scan line.

However, High Definition camcorders can not genlock or reference to a standard NTSC or PAL video sync signal. Rather, it uses an another type of sync called Tri-level sync. It basically works in the same way as analog sync, but it is structured differently. With Tri-level sync, the signal consists of a three-level sync pulse (zero volts (0V) Blank, -0.3 V pulse, +0.3 V pulse) followed by the video image data. Like analog sync, the signal is repeated every scan line as it creates an entire HD video frame. So in the High Definition world, we need to genlock with what is known as Tri-level sync.

from https://www.jkor.com/peter/trilevel.html

[Steven Gonzales]

If you need to change a bunch of quicktimes, you can use the free utility Sebsky tools.

Export a batch list from final cut, bring that in to Cinema Tools, tag all those files with the timecode you want in cinema tools, make sure the Cinema Tools records have the right file names to match your quicktime files, then export an ALE (avid log exchange) file.

Then you can use Sebsky tools, point it to the folder full of quicktimes, point it to the ALE file with the files names and new timecode which you exported from Cinema tools, and batch it all.

https://www.dharmafilm.com/sebskytools/

[Steven Gonzales]

Quicktime has a scripting dictionary for Applescript, so you should be able to create something without too much trouble:

https://www.apple.com/applescript/quicktime/

[Steven Gonzales]

You may be cutting the clips a frame before the one you want.

Zoom in really close up on the timeline, so you can see one frame, and then cut the clip as you usually do.

Is the frame you were looking at in the canvas now on the beginning of the second clip, rather than the end of the first?