[Tom Wolsky]

Should be in Display in System Preferences. Use the default color setting and see if that helps, but it sounds as if you didn’t change it.

You screenshot shows the project, but the image looks like the one in the browser. Very weird.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Check to make sure ColorSync is correctly set.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Connecting the narration rather than putting it on the primary may only be habit. I haven’t experimented with it much on the primary. The few times I’ve used music on the primary I started by connecting clips to the the primary, but when I wanted to fine tune the edits, I converted them to a separate storyline so I had all the trim functions. I think I’ll try narration on the primary more.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Sometimes there’s a script or rough outline, sometimes there’s not. Often it’s simply making selects in the browser and then putting them in the timeline and then rearranging them in the timeline till the narrative makes sense and has the development and progression you want to tell your story. The primary is almost always audio driven, dialog, sound bites, narration, though by habit I don’t put narration on the primary, though there is no reason you can’t, and it probably would make more sense in some circumstances to do that. I’ve certainly never worked the way you do with hundreds of sequences. I only used sequences for two purposes in legacy FCP, to keep versions, and as containers for media for viewing and making selects. In FCP now I use projects for versions, and I’ve never made that many versions, 20 would be a lot for me. In an hour long program I usually have five to eight versions. As for containers to view and shift material, I use compound clips in the browser for that. I only tend to use them during the early stages and simply as a way to make selects, which get copied into a project. I don’t often copy whole clips unless they’re short. I really do not work the way you do, which seems to be putting masses of material in the sequence and cutting them there. My background is in film and tape editing and that was never an option. You edited in what you needed and then trimmed. With tape you had to edit the beginning tight and left the tail long to be cut by the next shot. I probably tend to still do that when making selects, though of course trimming is now much more flexible.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

I use the primary storyline as the bed, very similarly to the way I did in earlier versions. Build the primary narrative, interviews, soundbites on the primary storyline with B-roll connected to it. For music videos, many people use the music itself as the primary storyline. For narrative fiction, it’s mostly cut on the primary storyline, just as V1 was used in earlier versions. Cutaways and reactions can be connected as use like V2 in earlier versions. These were the techniques taught in Apple training programs, and they adapt quite well to the current version.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Sounds like the video was captured using iMovie or some other application that captures DV Stream. This format is not used in FCP, which works with QuickTime. DV Stream is a muxed format with the audio embedded in the video. The audio cannot be accessed in FCP unless it’s in separate tracks in QuickTime. You would need to reimport the media using FCP, or use Compressor or MPEG Streamclip to convert it to QuickTime.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

“Do not add a transition to nothing, it will create the transition going from black to your clip,”

That behavior can be changed by right-clicking on the transition.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

This information is incorrect. While you no longer have to manually create a secondary storyline to add transitions to connected clips, a secondary storyline is automatically created and the blend mode applied to the effect clip is lost.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

Blend modes only work between connected clips. Blend modes don’t work between a secondary storyline and the primary storyline. Unfortunately to all transitions to connected clips, they have to be converted to an additional storyline.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press

[Tom Wolsky]

You take the project file together with all its associated media to someone who has FCP7.

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Coming in 2012 “Complete Training for FCPX” from Class on Demand
“Final Cut Pro X for iMovie and Final Cut Express Users” from Focal Press