Final Cut X - Workflow Options (Collaboration)

Hi
I am trying to workout the workflow for editing with Final Cut X - I am based in Philaelphia and the other editor is in Texas - From my reading it seems that the only way to edit and then share files is via the copy project feature.
Does anyone know if you can use dropbox or similar to share projects if we have the same file locations on both computers - obviously the render files may differ but has anyone tried this and got it to work?
Thanks,

It doesn't look as if they've built in the presets. Did you contact FxFactory?

Similar Messages

Final Cut Studio Workflow Discussion

I'm trying to find out how many Final Cut users out there use the "Final Cut Studio Workflow" meaning; do you guys use Soundtrack Pro, Motion, Livetype and the other programs for your work? And how often do you use them? I think it'd be really cool to get a discussion going about who is using these programs in their editing workflow and how often and what they use it for.
Most of my work comes out of FCP but I use a lot of Adobe products such as After Effects, Photoshop and Illustrator. I DVD author with DVDSP and use Compressor when I go to DVD or web.
I find it interesting that I mostly use the FCP studio for just FCP. I hardly ever touch Livetype; I've used Soundtrack Pro twice and I've never used Motion.
The reason I post this in the Final Cut Pro user forum is because I'm interested in knowing how many 'editors' are doing this extra stuff outside of traditional editing.

I use the tools I know. I know photoshop and aftereffects (sortof) and haven't gotten a handle on motion. I use soundtrack pro occasionally to normalize, and eq, but not for much else (just remembered that I did a cool little music piece using the loops in soundtrack pro. really blew my client away). I find I can do almost everything I need to do audio wise in fcp. Subframe audio editing is a little cumbersome but doable. But... I do realize that I'll need to bite the bullet and explore motion eventually.
I've used cinematools a number of times to remove pulldown from film to tape transfers and to change the frame rate of pal qts (25fps) to 24 fps (very handly when my english animators gave me qt's with the wrong frame rate.
I started out as a film editor, when all I did was make edits on a flatbed with a rivas splicer. Those days are gone forever. Every year I find I'm doing more things than I ever did before. Maybe not always with a professional skill set, but I'm getting there.
Message was edited by: Michael Grenadier

Premiere Elements 8 to Final Cut Express Workflow

Working on a series of videos that will require creating offline of interviews in PE 8 then sending to finish (b-roll, titles, etc) on a Final Cut Express (Mac) system. My b-roll shots are recorded at AVCHD 1920v1080i.
Any thought on what format I can save my interviews at that would allow for FC to use and also bring in b-roll shots?

I would recommend ideally Share/Computer/MPEG at the 1440x1080 30i. This creates an .mts HDV video, ideal for working in high def.
In version 10 there are also some AVC output options you could use. But the .mts is a good, universal format for hi-def.

Final Cut Studio Workflow

I´ve got a project where I use Final Cut Pro for editing, Soundtrack Pro for sound (Logic Pro for Scoring), Motion for rotoscoping and keying, Color for color correction, and Compressor for outputting the final movie...
So, what is the best workflow?
I would prefer to use roundtripping from beginning to end, but this is unfortunately not always possible. Color, for instance, isn´t always on speaking terms with Motion-clips. Should I export the clips made in Motion, so that I could do the overall coloring in Color, or should I use the 3-Way Color Corrector on that particular clip? Will exporting the Motion-clip as an independent clip reduce the quality of the clip?
I really don´t know enough regarding formats and quality loss (I´m a hobbyist, not a pro), and would appreciate all the help I could get!

The best workflow is one that works for you.
I do the edit to what I want inserting temporary text/graphics/animations/whatever and then strip all that out, send the sequence to Color with considerations for transitions (in other words I build handles into the edit to account for dissolves/star wipes/fish wipes). When I'm done with Color I send it back to FCP and duplicate the ___(from Color) sequence and begin to insert all the other elements and trim the edits for transitions and what not. Why do I duplicate the sequence from Color? Simply because I don't want to cut up the original so I have something to fall back upon in case I go in a horrendously wrong direction with my project.
This is how I'll incorporate Motion projects that use an alpha channel. If you think you need to treat your Motion projects in Color then you'll need to export self-contained files, import them into FCP and then send your sequence to Color.
Unlike the FCP timeline which begrudgingly will accept almost any format into a sequence, Color will not tolerate mixed formats or files.
This is what works for me, as with anything in this non-linear world, you'll find many many many other opinions of what works.
Good luck.

DPX - Glue Tools - Final Cut - Color workflow problem

Hello all,
I haven't worked much with DPX since the Final Cut Studio 2 update and have now come upon an urgent problem.
I need to import 16bit DPX files into Final Cut, cut them on the timeline, then send to Color and back to FCP after correction.
I've tried this in serveral ways which lead to different problems.
First approach:
- Import DPX Sequence via Glue Tools DPX Import of Final Cut Pro 7
- Drop on timeline
- Send to Color
- Opens just fine, color correct, render
- Send to Final Cut Pro
It switches to Final Cut, but doesn't open the new corrected sequence.
Second approach:
- Instead of sending the corrected movie to Final Cut, Export XML
- Import XML into Final Cut
Again it switches to Final Cut, but I get the following error message (translation from German): The xml transformation has been cancelled due to a serious error.
Third approach:
Because I don't have much time at the moment I thought I'd just go back to the older workflow of putting the dpx files into a mov container first (I haven't worked much with dpx since FCS2).
So I opened one of the dpx files with QT7 and exported into an uncompressed mov file and already have the first problem.
It seems to cut off all the shadows. When I open the newly exported mov file with QT7 and compare it with the still open dpx sequence it looks even more flat than the dpx files and seems to has lost all shadow detail.
When I drop the mov file into FCP, send to Color and try to get some contrast into the film the shadows look completely crushed.
Sending back to Final Cut works now though.
I've searched through the archive and read the Glue Tools manual again, but nothing I try seems to work.
I use the newest Glue Tools version and the settings are standard. Changing them doesn't seem to influence exporting to a mov file anyway.
Any hint would be much appreciated!

So I opened one of the dpx files with QT7 and exported into an uncompressed mov file and already have the first problem.
it looks even more flat than the dpx files and seems to has lost all shadow detail.
It "looks" even more flat and seems to have lost shadow detail?
You are not measuring values with a scope? In other words you're "flying blind.''
Sounds like an RGB/Y'CbCr scaling problem -- Probably the dpx files are full range and the QT is being rendered Linear so the black "0" is actually being mapped to about minus 10 IRE and your white vales won't be able to make it much above 85-90 units. There will also be a gamma difference. If you were scoping these values, they'd be instantly obvious.
jPo

Final Cut Pro sharing option

When using the sharing option to make a DVD on FCP, I am getting an error message. It says:
Share failure
Internal error Apple Qmaster File agent not found
Does anyone know what this means? I can save my project as a data file and bring it into DVD Pro without a problem, but share does not work

Usualy indicates in improper or incomplete installation of Final Cut Studio. You left out the Qmaster elements.
Or the Qmaster pieces went to an incorrect location.
bogiesan

Help - Final Cut the right option for making self-playing presentations

Hi There,
I'm been in a horrible place trying to export a presentation made in Keynote 2 into Quicktime. This presentation has audio embedded in the presentaion (not as an object on the slide) and also has quicktime movies on the slides. The movies have vector images building in and out that is supposed to follow along with the audio and video.
The long and the short of it is, it doesn't work for what I want it to do.
Keynote can't:
A) set any timings that are accurate in any way
(i need to have visualks sincing with an audio narration)
B) can't export either at all at times or with any accuracy to QT.
I need to be able to make QTs so they can be:
A) made into steaming files that would be available online
B) input into a DVD so they can viewed on a television.
I know I attempted a cheat by trying to go about this through Keynote and it has failed. Now I have to figure out what will work, learn the app and rebuild the keynote files in the right program.
Is final cut what I want? is express enough? Is there a presentation sofware out there that works? I was also told motion may be necessary? I know there is a strong possiblilty I was using the wrong piece of software for what I want to accomplish. I am will be willing to make the investment if I know it will be succesfull.
I'm really at a loss and need advice to assist in making the right decisions to move foward. Help! and Thank You.

All these applications will take some time learning to use effectively. I'd suggest you spend the time learning them before you tackle a project in earnest.
The full version is a bit more complex to learn because there are many more settings and options, which aren't available in FCE, and which may make it more daunting. The applications themselves behave very similarly, and anything you learn in FCE will apply to FCP.
I'm an Apple certified Final Cut and Motion trainer. Is Motion overkill? Can't answer that for you. It is very easy to use and to get going and be productive. It also comes with excellent templates. If you get Studio you get LiveType as well, and all the applications integrate easily, LiveType to Motion to FCP and any combination of that. I like LT a lot, but Motion is fun to use too, very dynamic in what you can create in real-time on the fly. It does require horsepower though, lots of RAM and a fast graphics card. You might find it a bit bogged down on a PowerBook as the project gets more complex. Motion is really designed for short pieces, motion graphics elements, opening titles, interstitials, not for doing whole programs.

Final Cut Express export options missing

I use the latest version of Final Cut Express on A G5 Quad and have recently lost certain options in the 'export using quicktime conversions' menu. I have always used Motion jpeg B but this is now missing along with Motion jpeg A!
This didn't coincide with any software installations or updates. And I've just run the Apple software update for FCE and Quicktime but there's still no difference.
Any ideas please??
Jason

Thanks Tom. The mjpeg compression options were there a week ago, I'll try installing the software on my laptop to see what happens. Anyhow I've noted that the stock agent will accept photo jpeg compression so perhaps I have nothing to worry about.
I appreciate your taking the time to advise me.
Jason

Final Cut DVD workflow issue

I shot HDV 1080i 60. I cut on a new sequence setting matching that easy setup. It is shot 16:9 on the camera. I have had problems before where I have the text in the letter safe zone and then when I burn and play the DVD on some tvs it cuts off letters.
So I make a QT file using the HDV 1080i setting.
Then I compress it in compressor.
Then I goto DVD Studio and make a straigh DVD burn.
What am I not setting properly?
Mike

Are you making a letterbox or pan and scan disk/track? Are you using a 16:9 safe area or a 4:3 one?
If you are using a 16:9 safe area and producing a pan and scan track it will cut off a fair whack of the 16:9 safe area. You need to use a 4:3 safe area (FCP does not have a 4:3 safe area overlay generator for 16:9 so you will need to make your own, or look at the Digital Heaven plug in www.digitalheaven.co.uk)
Hope this helps.
Trevor

Issues Capturing with Final Cut Express

Hi
I am currently having issues capturing with Final Cut Express. I am using a Firewire 800 gold speed cable 9pin/4pin with my Sony LSF-S58 camera. I use mini DV tapes and usually capture on other computers with no problems. However this time I am using Final Cut Express version 4.0.1 along with a Thunderbolt to Firewire adapter so it'll connect with my MAC Book Pro (Operating system OS X 10.6.8). The issue is when I open Final Cut's capture option there is a message at the bottom that says "No Communicatin" I have tried various settings within easy set-up and nothing seems to work as well as browsing this help board along with others looking for the answer. Any help anyone can provide would be great. Thanks.

When I Google LSF-S58, I get a Sony Lens Hood, not a camera. Are you recording in HD or SD?
Have you used the Thunderbolt to Firewire convertor successfully on your computer with other devices?
Have you used the Thunderbolt port successfully with other Thunderbolt devices?
I don't know if this is applicable to your computer, but there is a Thunderbolt software update for 10.6.8 here:
http://support.apple.com/kb/DL1452?viewlocale=en_US&locale=en_US
MtD

Problem Installing final Cut Express HD 3.5

I am presently using Final Cut Express 2.0. Trying to upgrade to Final Cut Express HD 3.5. After the installer asks for the Product Serial#, it stops installing for lack of Hard drive space (never see a Custom install window where I could install Livetype, templates, loops, etc) on a separate disk.
I cloned my OS on a new drive. Tried to re-install Final Cut Express HD, The Installer never asked for the Product Serial # as before. It only loaded the LiveType, loops, templates, etc. The Final Cut Express HD option was blanked out. It never got loaded. Need Help. What am I doing wrong.? It seems that once you try to load FCE HD once, it won't let you do it again
PowerMac G4 Mac OS X (10.4.8) Dual 500MHZ CPU
PowerMac G4 Mac OS X (10.4.8) Dual 500MHZ CPU

Thanks Tom. I did call Apple last night but they kept me waiting for so long that I gave up. I will try to call them again. But, I don't think any of the FCE HD files were loaded since that option was grayed out (could not be selected). The Re-install was on a new Hard drive and I could select only loops, templates, etc. for loading. It's like the old FCE 2 could not be upgraded at all. Could that be a possibility ? I thought one could upgrade from FCE 2 TO FCE HD. Am I wrong?
by the way, I read your book on FCE and I think it's great.

Final Cut "Wrong Type"

So recently my G5 (running 10.4.11) had a bit of a meltdown (it had directory structure corruption). That was fixed though by reinstallinng the OS 10.4.11 combination updater. It starts up and everything works fine... Except for one thing. Whenever I try to open a Final Cut (5.0.4) project I get the message "Wrong Type" and the project won't open. There is not one project that will open. Also I can't make a new project from inside Final Cut. The option litterally isn't even there. All I can do is open up raw files and look at them in the Final Cut Viewer.
I looked this problem up and saw that some people managed to have some success by using programs like "Quick Change" to alter the File Type to FCPF and the creator to KeyG. This did nothing for me.
I'm using my hands to paddle upstream, but that ain't working.

If you had directory corruption, you still have it.
Installing the Combo Updater might have earned you a respite but it didn't fix the issue really.
There are only two ways to deal with that:
•erase and reformat then reinstall everything from scratch.
•use DiskWarrior (software) to repair the directory. It might be too late for this now, but the software is well worth having if only as part of your maintenance routine. Used regularly, you will never get to a stage where directory damage causes a meltdown.

Ilife Sound Effects and Final Cut Pro Sounds are not appearing in Final Cut Pro X anymore!?

Hello,
I am new to the app Final Cut Pro X. And recently when I have gone into the Music and Sound Folder in final cut pro the option for Ilife Sound Effects and FCPX Sound Effects do not appear. I have read other forums and they have said to drag the sound files into FCPX but that isn't even a option. It onlt has iTunes options, please reply back someone this is stressing me out. I don't know if it is because of Mavericks or whatever but it is driving me insane and I need help!
This is what it looks like .

This is a known issue in FCP X 10.1 and you will find many posts about it in the forum just do a search. Several solutions have worked for different users. Try the following:
1. Open and close GarageBand then relaunch FCP
2. Open and close iPhoto then relaunch FCP
3. Close and reopen FCP
4. Trash FCP preferences then relaunch FCP
Any one of these may work. Just try them in any order. Be aware the problem may recur.

Final Cut Sending the wrong clip to Shake

In a project i'm currently working on i've selected clips and used the "send to shake" function. When shake launches, the project has totally different clips but from the same FCP project.
Has any one seen this before? Any advise would be great.
Thanks

Tobold: The Media Reconnect dialog screen is normal behavior when rendering a Shake sequence back to Final Cut. See page 34 of the Final Cut Studio Workflow PDF document.
http://manuals.info.apple.com/en/FinalCut_Studio_Workflow.pdf
Sending Media Back to Final Cut Pro
When you’ve finished working in the Shake script that was generated from Final Cut Pro, you need to render the originally created FileOut node. The newly rendered media file takes the place of the placeholder QuickTime file, ready for use by the original Final Cut Pro project.
When you reopen the Final Cut Pro project file containing the original placeholder QuickTime file, you’ll need to use the Reconnect Media command to relink the clip in your sequence to the media that was rendered out of Shake.

Workflow/Sending to Final Cut

I have been working on a 720P DVCPRO project. I am not sure what the work flow should be for adding in your color correcting stage.
I have edited my project with speed ramps and different effects within Final Cut 6.02. When I rendered my files from Color after making a color correct, I then sent it back to Final Cut.
Once I opened the timeline that color added to my final cut project, All of my transitions were replaced with straight cuts. Also the speed ramps were gone.
Should this be expected? If so how should I be working on the color correcting stage?
What is the best way to do this?
Any help would be great!
Thanks,
Jesse

Preparing Your Sequence for Color Correction
Before you bring your project to me for color correction, there are a few things you can do to prepare your project in so we can get started more quickly, saving yourself some money in the process. On the other hand, if you're not comfortable going through any of these steps, I can do them prior to the actual color correction session.
Move All Clips That Aren’t Being Composited to Track V1
Editors often use multiple tracks of video to assemble scenes, taking advantage of the track ordering rules in Final Cut Pro to determine which clips are currently visible. On the other hand, it’s faster, easier, and less ambiguous for the colorist (me) to navigate and work on a project that has all its clips on a single video track.
For this reason, please move all video clips that aren’t superimposed as part of a compositing operation down to track V1, as shown in the following screenshots. If two or more clips are superimposed as an effect, by all means leave it be, and I can color correct each layer as necessary.
Unprepared Timeline Prepared Timeline
Tip—if you hold the Shift key down while you drag clips up and down in the Timeline, you'll lock their position in time so you don't inadvertently move the clips out of sync with the audio. Furthermore, if you don't want to change the track order of audio items that are linked to the video clips you're moving, you can turn off Linked Selection. This lets you move video items without also moving their audio.
Remove All Non-Essential Filters From the Clips in your Sequence
It's often difficult for me to distinguish between temporary effects that I'll need to replace, and permanent effects that you want to preserve. For this reason, if you've created any temporary color corrections during the offline phase of your edit, please remove these from your sequence before bringing it in.
If you feel that these filters are a useful reference for the direction you'll want me to take, then make a duplicate of your edited sequence to back it up before you start cleaning it up, and name it "Sequence Name- Reference Copy." That way, I can always open up the original state of your program to take a look at what was done previously.
Please note, I'm only talking about color corrections that were done during the offline edit. It's not necessary to remove every filter in your program. By all means, retain any and all filters that are currently used to create effects that are integral to your program.
Place Timeline Markers at Scene Beginnings, Effects, and Problem Areas
A completely optional step, but one that can save time during the session, is to take the time to place Timeline markers with scene names or numbers at the first edit of each scene in your project. This makes navigation extremely fast, and removes any ambiguity when you ask me to go to a particular scene.
Also, if there are effects shots in the project, either done in Final Cut or created in another application, please place markers to identify these as well named "FX - Description" in the Timeline for each effect.
Lastly, if there are problem shots or scenes that you know will need special attention, place markers named "Problem - Name Of Problem" in the Timeline for each issue in the sequence. This speeds the session, and also provides me with some guidance in unsupervised sessions.
Bring Third Party Filters That Are Used in the Project
If your project uses third party FXscript filters that you've installed for use with Final Cut Pro, those are saved along with the project file. On the other hand, if your project uses third party After Effects or FxPlug filters (such as those used by Motion), you will need to bring those filters to me along with your other project and media files.
Tip—If you have the time, it's often helpful if you can place a marker in the Timeline (not in the clip) calling such effects to my attention.
Bring All Fonts Used by Text Generators, LiveType, and Motion Project Titles
While most color-correction sessions don't involve motion graphics work (although some do), it's still good for me to be able to view your project as it's supposed to appear. The color and placement of superimposed titles sometimes necessitates changes to the color correction of the clip underneath. Also, if you need me to render a version of your program that includes the titles, I'll need to have the fonts.
Tip—After color correction, I recommend having rendering at least one version of your program as a textless master. This lets you redo your titles at any time without having to re-render the entire program.
Preparing Your Media for Color Correction
If your project and all its media fits on a single portable hard drive, it may not be necessary to use the media manager, you can just copy all your files and folders to the hard drive. If it doesn't, it's a good idea to consolidate your project's media in order to make it more portable.
Media Manage Your Project
It's best to eliminate unused media to save drive space (especially if you’ll be recapturing uncompressed media), and consolidate all the source media used by your project into a single directory for easy transport and relinking. This is also a good step to take prior to recapturing your media, if necessary.
The safest way to do this using the Media Manager is to use the following options:
1. Which option you choose from the "media referenced by selected sequence" pop-up menu depends on whether or not your source media needs to be recaptured.
* If your media is already at its highest quality and you don't need to recapture it, then choose Copy. This safely duplicates the media used by your project onto another hard drive (which you choose using the Browse button in the Media Destination section near the bottom of this window), while leaving your original media untouched.
* If your media needs to be recaptured (see the next section), then choose Create Offline. This creates an offline version of your sequence, ready for the recapture process.
2. Turn off Include master clips outside selection. This saves space.
3. Turn on Delete unused media from selected sequence.
4. Turn on Use Handles, leaving the handles duration field at the default of 1 second, just in case you need any last-minute editorial tweaks.
5. Turn on Duplicate selected sequence and place into a new project. This further protects you by saving all changes to a duplicate project file, which is also saved in the directory you choose with the Browse button.
6. Turn off Include affiliate clips outside selection. This saves more space.
7. If this is a multi-camera edit, turn off Include nonactive multiclip angles if you've locked your edit. This will significantly reduce the amount of hard drive space you need to transport your project.
8. If you're using the Copy option, click the Browse button to choose the external hard drive to which you want to copy the media.
The following screenshot shows the Media Manager set up to copy preexisting media.
Media Manager Setup
Once you've media managed your project and copied all the files to your portable hard drive, it's a good idea to unmount the hard drive containing the original media, and then try opening up the newly copied project and media from your portable hard drive. This lets you check to make sure you've got everything, and that all the files relink to the project properly.
Recapture Your Source Media (If Necessary) at the Highest Quality
For the best results, it’s essential to use media that has been captured at the highest possible quality. If you’re following an offline/online workflow where you captured the source media at low quality in order to save hard drive space, you’ll need to recapture that media at its highest original quality. This is not to say that you need to recapture everything using the 10-bit Uncompressed 4:2:2 codec if it was originally shot using a compressed format.
For example, if you’re working on a program that was shot on NTSC DV tape but that was originally captured and edited with the OfflineRT format, you need only recapture the source media at its original resolution and format using the DV/DVCPRO - NTSC codec. Likewise, DVCPRO 50, HDV, DVCPRO HD, IMX, and HDCAM HD (35 Mb/sec VBR) are all suitable video formats for beginning the color correction process using their native codecs.
Here's why. In either Final Cut Pro or Color, image data from supported compressed formats is decompressed at the beginning of the image processing pipeline, with all the internal image processing performed on uncompressed data. During rendering, the corrected, internally uncompressed image can be written straight to disk as an uncompressed file. In essence, the rendering process upconverts your program at the same time it processes your color corrections, preserving maximum image quality.
On the other hand, if you’re working with media that's in an analog or digital mastering format such as Betacam SP, Digital Betacam, or D-5, you’ll want to capture it using the 10-bit Uncompressed 4:2:2 codec if you want your media to be completely uncompressed. On the other hand, to save hard drive space you can now capture your media using Apple's new mastering-quality compressed codecs; ProRes 422 is suitable for capturing and mastering standard definition media, while ProRes 422 (HQ) is suitable for high-definition media.
Render Specific Effects as Self-Contained QuickTime Clips (optional)
(This step pertains only to preparing for a Color session)
If we've discussed your program in advance and you know for a fact that it will be corrected using Color, there's another optional step you can perform to prep your project. Certain types of clips and effects in Final Cut Pro sequences are not supported directly inside of Color, including:
* Still images (such as .tiff and .jpg files with durations greater then one frame)
* Final Cut Pro freeze frame clips
* Final Cut Pro generators
* Motion project files edited into the Timeline
* LiveType project files edited into the Timeline
* FXScript and FxPlug filters (ignored by Color)
* Variable speed effects (linear speed effects like 50% and 200% are fine)
Most of these effects are simply ignored by Color, leaving offline clips in the Color timeline. However, unless they're titles or superimposition effects, usually these clips need to be color corrected along with the rest of the program. For the smoothest Final Cut Pro to Color round trip, it's usually best to render (export) such effects as self-contained QuickTime files, then import them back into your project and edit them back into your Final Cut Pro project to replace the original effect clip in your project.
If you have any questions about this process, don't worry about it. This is a preparatory step that I can take care of. However, if you know what you're doing and you'd like to take care of this yourself, the following is a good workflow:
1. Drag the unsupported clip to track V2 (see 1 in illustration).
2. Solo the auto-select control for track V2 by Option-clicking it (see 2 in illustration).
3. Move the playhead to that clip, and mark the clip for export by pressing X. This sets the sequence In and Out points to match those of the clip (see 3 in illustration).Rendering Unsupported Clips
4. Choose File > Export > QuickTime Movie...
5. When the Save window appears, choose Custom from the Setting pop-up.
6. When the Sequence Preset Editor window appears, choose 10-bit Uncompressed 4:2:2 from the Compressor pop-up menu in the QuickTime Video Settings section, then click OK (despite the window's name, this does not change the original sequence settings).
7. In the Save window, choose a name and location for the new media file, and click Save.
8. When it finishes rendering, reimport the new QuickTime movie back into your project. It's helpful to create a new bin in which to store all of your prerendered clips.
9. Lastly, edit the rendered clip into the gap on track V1 underneath the original clip on track V2.Preparing Sequence 02
After you've rendered all of the unsupported clips in your sequence, you can disable the original superimposed clips in track V2, but leaving them in your sequence makes it easier to locate and rework these effects should you decide you ever need to make a change. Now that the effect has been turned into a QuickTime movie, it can be graded in Color just like any other clip.
Note: Don't forget to bring these rendered clips along with all the other media for your project.
Rendering Speed Effects
Rendering speed effects works a little differently. If you have Final Cut Studio 2, you have the option of rendering clips with linear or variable speed effects in higher quality by sending all such clips to Motion to render using Motion's adaptive image analysis to create smooth slow motion effects. This is highly recommended.

Final Cut X - Workflow Options (Collaboration)

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