A BUG in FCP 7: Multiclip Markers slip when copied from project to project

Alas, not all things are great with multiclip markers in FCP 7.
We are shooting multicam on a show with dual system sound. Individual camera angles are synced to the production sound (broadcast .wav) and merged to create new master clips that use the stereo production audio instead of the original camera audio, then the new synced/merged clips are made into multiclips using In points set on the slate claps as the multiclip synchronization method. Markers added to the A angle and B angle do indeed stay attached when added in the viewer (thanks for that bug fix, Apple). The assistants are marking the beginning of each take and all resets on each angle, so that both Angle 1 (A camera) and Angle 2 (B camera) have the exact same markers on the exact same frames.
Problem is, when the editor opens the dailies project and copies the bins with the marked multiclips into his editor project, or his or her version of the dailies project is updated, the markers on Angle 2 (B camera) all shift in time (like they were all slipped). All Angle 2 markers in each individual clip slip the same amount, but every multiclip's markers slip a different amount. Copying clips from one bin to another IN THE SAME PROJECT yields the same slippage, and what's more, even messes up the markers in the original master multiclips (as if the copies were not affiliates but literally the same master clip as the multiclips). To make matters even worse, sometimes it's the A camera (Angle 1) that has markers slipping.
This bug does not affect multiclips that are made from the clips using original camera audio. Since the production has, thus far, been unable to properly jam sync the audio and camera timecode, each merged audio multiclip can have, potentially, three different timecode numbers associated with each track, Angle 1, Angle 2 and the stereo audio. Clearly FCP has no idea what to do when it attempts to recreate the clips in another bin or project, but the offset (i.e. how much the markers slip) is not directly correlated to any timecode offset between the different tracks of the multiclip. How weird is that?
It's forcing the editors to mark their own footage, which is really the assistant's job. At least in FCP 6 you could mark the original angles prior to multiclipping and the markers would stay as you switched angles, or you could mark the original angles and then replace the angle in the multiclip with the marked angle and, again, the markers would stay affixed to the angle when you switched from angle to angle. Now that doesn't even work.
Help!
Any workaround out there?

Actually the 4:2:2 smoother is for prepping footage in a 4:2:2 color space for chroma keying (it prevents stairstepping due to the blocky chroma values). It is the right setting for DVCPRO HD.
Sure about that? because it already is in a 4:2:2 color space, and there are no stair steps. Only DV has those ugly stair steps. I believe this is for DV. I have never used it, and I have comped a lot of DVCPRO HD.
am using the Chroma Keyer filter from FCP (possibly derived from Primatte?
Nope...Primatte is a NEW filter in FCP 7. The built in Chroma Keyer in FCP downright *****. I use DV Matte Pro for simple stuff in FCP, and Primatte or Keylight for the more complex ones, and in AE or Motion. But Primatte is now in FCP 7...well, a "lite" version called Primatte RT.
If chroma smoothing is causing that issue...don't use it.
Shane

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I have an issue with an HD video that contains red and purple text and graphics in the edit. I've looked for an answer tirelessly online, with friends, and through trial and error for a good 7 hours before giving up. Here's the deal,
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I need to output this 9 minute edit I have to an HD file 1280x720 for youtube upload. So, it has to be under 2gb (youtube's limit) but for client purposes, it needs to be crisp and great looking as you would imagine.
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Here is a link to the Animation Output of a half second of the edit with a sample red graphic crisp as can be for you to test (12.7mb) -
http://www.robinsonhope.com/downloads/makeup_animationtest.zip
Here is a link to view screenshots before and after to show you what rendering does to the graphics.
http://www.robinsonhope.com/downloads/makeup_ss.jpg
In case you'd like to try and find a solution, please download the link to the HD animation half-second clip and output to h264 or any other web friendly codec that would show these red graphics clean and not blurry and pixelated. Other rule is after doing the math, a 9 minute video with the compression you choose would need to be under 2gb. This shouldn't be too much of a problem because even a 1280x720 h264 at max quality for a 9min video is still under 2gb.
The first person to show me that you are truly a FCP guru and can solve this, post a link of your successful solution, I will praise you as genius all over this forum. I will also be eternally grateful. Live in LA? I'll also buy you dinner, Haha. But seriously...

Welcome to this forum,
Sorry to hear you so struggling with this issue.
And I doubt whether I can solve this for you, but I can say a few things.
The title of this thread is:
Graphics render bug in FCP 6 and 7 - Dare to prove me wrong?
I'll prove you are wrong. Or actually you've already proved yourself wrong in your post:
-Ran the shot and graphic through after effects and premiere pro separately (different video programs) to see if final cut pro was causing the problem, same problem with those programs.
Seams that I try to annoy you, but I'm not. It's not a joke. The fact that other applications can't handle it as well AND the fact that Animation Codec (Which is pretty lostless) does not have this problem, tells you that the problem is likely the low compression you want OR the footage itself. And I dare say it's BOTH.
I downloaded your testfile and have opened it in FCP and I can see in the Vectorscope that your color Red is too hot.
[Click here|http://i843.photobucket.com/albums/zz356/rienkL/Screenshot2010-04-02at1324 20.png] to see the vectorscope of your picture?
You also see the small boxes (clockwise)
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I tried isolating that color, reducing the saturation, and then do an export, but that failed. You should adjust that within the PSD's first and then see how exporting goes.
So now you are thinking: My client wants his own colors! Sure he does. But those colors were probably designed for print, which does have another colorrange. Simple technical story. You're bound to specific saturation. Going over that means troubles....
And I'm not claiming that your problem will be solved when you adjust this. It is still possible that h264 just doesn't like red too much. Maybe that's on purpose. Our eyes are most less sensitive to red, so that gives the compressor some extra room to compress in the reds (Don't know if this is what compression developers do; just thinking out loud, just an idea...)
Hope this helps at least a little.
Rienk

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Everytime i paste an item into my main seq it changes the name of my seq to the pasted item.
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Thanks the the suggestion, already had trashed the prefs.
Description of workflow is easy.
Load two seqs. (say seq 1 and seq 2)
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Newbie here...
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This previous post and other links should be useful:
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Hi Experts,
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Is this on files with alpha channels? Have you tried
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I've been using After Effects for years now to create graphics for our Avid projects, which have always been great! Now that we're using FCP, I'm not exactly happy with the results of my QT graphics exported from After Effects to FCP: they're extremely "milky" and faint when viewed from FCP over an NTSC monitor. I have tried various codecs when exporting: DV/NTSC, Animation, Component-- all with the same results.
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After Effects comp: NTSC/DV Preset (720 x 480, lower field, etc.)
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bogiesan wrote:
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Thank you Lower Fields first was selected

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Dear all ,
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You may check SAP note 520813
12. Question:
What do I have to keep in mind if I want to trigger the print output of a goods receipt or goods issue document when I execute the BAPI?
Answer:
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[svn:bz-trunk] 21494: bug fix BLZ-581 Possible deadlock situation when sending message

Revision: 21494
Revision: 21494
Author:   [email protected]
Date:     2011-06-29 11:25:54 -0700 (Wed, 29 Jun 2011)
Log Message:
bug fix BLZ-581 Possible deadlock situation when sending message
change the scope of lock EndpointPushNotifier.pushNeeded to be minimal (retrieving the messages from the message buffer), that way, we can avoid the connection write failure to occupy the lock forever.
Checkintests pass
Ticket Links:
    http://bugs.adobe.com/jira/browse/BLZ-581
Modified Paths:
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Adobe has donated BlazeDS to the Apache Flex community, and the source code is hosted on the Apache Flex website in a GIT repository.
http://flex.apache.org/dev-sourcecode.html

[svn:bz-trunk] 21209: bug fix BLZ-581 Possible deadlock situation when sending message

Revision: 21209
Revision: 21209
Author:   [email protected]
Date:     2011-05-04 18:26:18 -0700 (Wed, 04 May 2011)
Log Message:
bug fix BLZ-581 Possible deadlock situation when sending message
change the scope of lock EndpointPushNotifier.pushNeeded to be minimal (retrieving the messages from the message buffer), that way, we can avoid the connection write failure to occupy the lock forever.
Checkintests pass
Ticket Links:
    http://bugs.adobe.com/jira/browse/BLZ-581
Modified Paths:
    blazeds/trunk/modules/core/src/flex/messaging/endpoints/BaseStreamingHTTPEndpoint.java

Adobe has donated BlazeDS to the Apache Flex community, and the source code is hosted on the Apache Flex website in a GIT repository.
http://flex.apache.org/dev-sourcecode.html

A BUG in FCP 7: Multiclip Markers slip when copied from project to project

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