[Tom Wolsky]

I’ve seen this, but I don’t know what brings it on. Try shutting down your computer and rebooting. I think it’s a display issue. You might try kicking to a different display resolution.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

You really need to look through the manual. If you search the Help file for motion effects you’ll find what you need. Basically you stack the clips on multiple layers and use scale and position to place them where you want.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

If you’re using the DV PAL setting I don’t seen any reason why it isn’t in sync. Try marking In and Out points in the log and capture window for a 10 minute section and see if it stays in sync. Also try reimporting the material you captured already and see if it’s in sync. Sync adjust runs when material is imported into the project.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

They do behave like clips, only clips that’s using all of the available media. FCP treats a sequence as a complete piece of media. It will not go inside it to extend the material to create the necessary handles. There are a couple of ways around this. Either go inside the sequence and extent the material, but set In and Out points inside the sequence (but you have to do that before you edit it into the final). That will give you handles in the final sequence. Or simply trim back the sequence in the final to create the handles for the transition.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

The problem is that white isn’t a color, it’s a luma value. You could take the saturation down to nothing and then push up the luma values so it blows out to white. For a still image I would honestly do this in Photoshop for much greater control and precision where you can paint in a mask very exactly.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

Quite right, DVCPRO HD could be captured in FCP4.5. Those two flavors are still the only HD formats that can be captured over FireWire.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

What’s the audio sampling rate on the tape? It needs to be 16-bit to match your settings.

Are there breaks in the video?

What camera are you using and how is connected to the PowerBook? Directly or is there another drive?

Is sync adjust turned on?

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

You can certainly edit HD in FCP4.5. That’s why it’s called Final Cut Pro HD.

Only HDV and DVCPROHD can be captured over FireWire AFAIK, but these you can only do in FCP5.

If the current project are opened and in FCP5, they can no longer be opened in FCP4.5. It’s generally not considered a good idea to upgrade a project to a new version. You could rename FCP4.5 and install the upgrade to 5 and have both on your computer. You just have to be careful which one you’re running. Launching a project will always want to launch the newest available version.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

Let’s start with what application are you using.

What format are you working in? What’s the material? How did you get it into your computer? What are the settings you’re using for capture and for your editing?

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD

[Tom Wolsky]

Try it with a single one minute piece of HDV material. With a sequence with cuts each clip is rendered separately so it’s still editable. When you export FCP has to rebuilt the GOP structure of the rendered material around each cut. That’s actually quite a slow process. I tried it on a short single clip, and after rendering the sequence, which took about three minutes, it exported in about five seconds.

All the best,

Tom

Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 2 Editing Workshop” Class on Demand “Complete Training for FCP5” DVD