[Tom Meegan]

I’ve found I start to get strange behavior when the projects become large. 120 MB qualifies as large.

If you can break this into smaller projects things will probably stabilize.

You can use either method to copy sequence from one project to another, but the later (cut the sequence, paste into the project) is easier, and avoids any confusion with sequence settings not matching.

If you haven’t already, I would suggest making a back up of your project every evening after you work on the project. Keep these back-ups for the duration of the project. I usually add the date of the backup (111508 for example) as a suffix to the name of the project.

This might seem a bit extreme, but imagine your pain if your project goes corrupt and you can’t open it.

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

The log and capture window will match the size of the Canvas.

So, make you Canvas as large as you would like the capture window to be, and then invoke the capture.

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

If you are exporting for the web, change the frame size of you export to a multiple of 16:9, like:

320:180
480:270

Though the proper display aspect ratio of your footage is 16:9, the actual pixel resolution of PAL DV Anamorphic are:

720:576

When you reduce the ratio, you get:

11.5:9

Final Cut Pro knows about the pixel aspect ratio (PAR) of the footage and horizontal picture squishing that occurs in PAL anamorphic footage, and so stretches the picture for proper display.

By giving the compressor frame dimensions that are 16:9 you stretch your footage the same way FCP has been doing in the background as you edit. This makes your pixels square on export, and makes the video display properly on viewers that assume square pixels.

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

Set your sequence settings to match the footage. In the current version of FCP, if the first clip you edit into a sequence does not match the sequence settings, FCP asks you if you would like to change the sequence settings to match the footage. Say YES.

If the footage from the two cameras does not share the same settings, then convert the footage from the camera that will be used less before editing. Do a small test conversion and edit the footage into your sequence to make sure it works.

There are other ways of dealing with mis-matched footage, but I’ve found that the method here saves on headaches during the edit, unless the edit is very short.

To see the settings of your footage, select the clip and then hit Command-9. To see the settings of your sequence select the sequence and then hit Command-Zero.

Good luck.

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

There will be no quality loss.

Sub-clipping or using markers to create sub-clips would be more efficient than the method you describe. I favor markers.

Once you create markers, the clip acquires a disclosure triangle. Twirl it open to see you sub-clips based on markers. If you need an out point, extend your markers.

Go to Help > Final Cut Pro User Manual and search markers if this method appeals to you.

Best,

Tom Meegan, Woven Pixels, LLC

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

You will have to do this by tweaking and smoothing keyframes in the motion tab.

Tweaking and moving keyframes in the Motion tab in FCP is AWFUL.

If your project requires any subtlety, my suggestion would be to do your moves in Motion. Many good tools in Motion for making moves on stills. Also After Effects.

You can do this in FCP, it is just harder. Like tying your shoes without your thumbs.

Best,

Tom Meegan, Woven Pixels, LLC

[Tom Meegan]

You won’t get better quality from a stand alone DVD recorder. You will get ease of use.

Compressor compresses the video according to your specifications. It is not real time, and you have control of the process. There is a learning curve, and plan for some frustration. Workflow is important to this process.

If you buy an external DVD recorder (different than a burner) the DVD recorder does the compressing in real time. This is fast and has a five minute learning curve.

The quality of these real time compressions is lower than what you can achieve with Compressor or other software compression packages. The discs from a DVD recorder are less universally compatible than discs created with Compressor and DVD Studio Pro. You will not be able to create a customized dvd menu with a stand alone DVD recorder.

For your application I recommend the DVD Recorder. However, if you find the lack of control over the quality to be bothersome, or your clients have trouble playing back the discs, you can always learn about the dark art of video compression. And if the generic menus that come with the DVD recorders aren’t cutting it you can learn iDVD or DVD Studio Pro.

Best regards,

Tom

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

1. Buy this book and plan on spending about four 8 hour days with it:

https://www.amazon.com/Apple-Pro-Training-Final-Cut/dp/0321502655

I was an Avid editor who tried to wing it with FCP. This was in 2001. I knew enough to be dangerous – to myself! Do yourself a favor and block out some time to learn FCP and unlearn Avid.

2. Plan on learning to take responsibility for your media organization. This is a major difference between FCP and Avid.

The best way to learn about that is this DVD:

https://store.creativecow.net/p/63/getting_organized_in_final_cut_pro

3. Have a good handle on what your deliverables (DVD, flash, h264, beta sp, digibeta, D5, etc) will be and make sure you understand what peripheral equipment or software you will need to meet your obligations.

The best way to learn that is to search and lurk in the Cow FCP Forum.

Good luck.

Best,

Tom Meegan
Woven Pixels, LLC

[Tom Meegan]

You don’t mention how you are monitoring, but if you are using the build in speakers or the headphone jack try:

Open System Preferences.

Choose Sound – far right second row.

Hit the Output tab. In the middle.

Confirm that the Balance is set to the middle.

If you aren’t monitoring the built in speakers or the headphone jack, check the balance or pan settings of you monitors.

Getting my head around using audio in FCP took some doing. The manual, in this case, worked wonders for me. Especially exploring the

Modify > Audio menu

and

Modify > Link

and

Modify > Stereo Pair

There is a lot to know about how the audio is controlled and output, but stick with it and you will get it.

Best,

Tom M

[Tom Meegan]

I would go back to your timeline and see if the missing sounds have anything in common.

My first guess would be that the missing sounds are panned to either the far left or the far right, and that the play back devices where the sound is missing are only playing back one channel – the channel the sounds are not on.

If this is an artistic decision, great – just fix your monitoring. If it is a mistake, adjust the pan setting of the sounds.

Best,

Tom M