Deleting project tabs - and whole projects in FCP

Hi, I am in the process of cleaning up my hard-drive of finished projects and want to make as muh space as possible. With finished projects which I have backup and hard copy, how do I erase the projects from FCP, or at least avoid having them take up undue space....
Thanks

Delete them. Although, since the project files don't take up much space at all, I'd recommend keeping those intact.
-DH

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In Safari SHIFT + COMMAND + B:
Ciao.

Deleting Projects and associated media

Hi All:
What is the best way to delete projects in FCP?
Is there a way to delete all the related media, specially the one in Capture Scratch, Render files, Autosave, Waveform Caches, etc etc. Right now I am doing it manually. I would love for a feature that would delete all the media associated with a project?
Thanks
AN

another method not often used is to select all your project media from within the project tab in the FCP browser window, then right-click and choose Make Offline ... and in the dialog chose "Delete from disc"
that will trash everything no matter where you had stored it.
then you can go to the render manager and trash all the renders for that particular project too
so you can clean up a lot from directly within FCP

I was on Instagram and I clicked this link that lead me to safari but a box keeps popping up and it won't let me Delete the tab, can someone help me pleased??? I can't even use safari, is there a way to delete it or something???

I Was on Instagram and I clicked a link that lead me to safari and when I got there a box kept coming up and saying a b c d e f g.... And so on. It won't let me delete the tab and I can't even use safari, can someone please help!!!!!??????

Quit Safari completely, clear Safari and reboot the iPad.
Go to the home screen first by tapping the home button. Double tap the home button and the recents tray will appear with all of your recent apps displayed at the bottom. Tap and hold down on any app icon until it begins to wiggle. Tap the minus sign in the upper left corner of the Safari app icon. Tap the home button or anywhere above the task bar.
Go to Settings>Safari>Clear History, Cookies and Data.
Reboot the iPad by holding down on the sleep and home buttons at the same time for about 10-15 seconds until the Apple Logo appears - ignore the red slider if it appears on the screen - let go of the buttons. Let the iPad start up

Tabs and following line indentions ?

So if I tab the first line of a paragraph, in order to have the following lines of text align directly with the first line, I must select each paragraph, remove the tab and create an indent? Is there not a global setting I can select that says, "if the first line is tabbed then the following text will align with the first line text after tab?"
Example:
[TAB] 001. My first line is here and this
second line represents the continuance
of a paragraph as does this third line just
to give an example of what I do not want.
There is no left alignement of the following
text lines to the tabbed first line.
What I really want is:
[-TAB-] 001. This is how I would like for the following
[space] text to appear after a tab is inserted. The word
[space] tab and space in brackets are acting as a
[space] visual to indicate the alignment I want. Is there
[space] not a global setting that does this?
If you have followed me to this point, thanks for sticking with me. I know I can set a style and create the indent, but this means I will have to manually set over one hundered paragraphs to that style. It's not hard just time consuming.
Thanks in advance!!

Computers are not typewriters (which have no way to specify an indent other than hitting the tab key) and professional type is set without leading tabs, except for special cases using tabular type data where a particular row might be missing the first entry or the tab is required for special alignment (center aligned or decimal aligned, for example).
This is not as big a deal as you make it out to be. Define the paragraph style you need with the correct indents and do a GREP search for ^\t(.) and change to $1 and set the change formatting to your new paragraph style. This expression looks for a tab character at the start of a paragraph and any character that follows it, then replaces the tab and following character with just the following character (essentially deleting the tab), and assigns the style of your choice inthe format options.

Closed project tab and now can not find fcp file - is it gone really?

I was working on a fifteen minute documentary. Completed it, created a DVD and noticed a mistake as I was reviewing the dvd. Since I (Thought) I was done working on the project - I closed the tab and opened up a new project to begin working... Now I am trying to open up my documentary fcp file, and i can't find it anywhere... The only copy that is located when I try spotlight - is a version of it that I was working on 5 days ago, before most of the changes were made...
Any ideas?

when you closed the tab you wil have been presented with a dialog telling you the project had been modified and asking you if you wanted to save the changes (Cancel, Save As, No and Yes) ... if you inadvertently pressed "No" then you you closed it without saving those changes.
assuming you are not so crazy as to edit without using the Autosave feature, take a look in your autosave directory, find you project folder and look for th emost recent save of that project ... even tho you didnt save at the end you should have at least a couple of autosave vesrions there

Guys please help I was making a video project on I movie then I uploaded it to itunes then I deleted the app and re downloaded it is there a way to retrieve the project ( I still have the videos and photos)

Hey guys I am currently making a video of 1 second per day I started on January 1st till yesterday that's a long project
On my ipad in the application iMovie, yesterday I tapped on that box on top right with an arrow pointing upward, then selected save to itunes. After that I deleted the application and re downloaded the update. And I can't find the project and when I tap import from itunes I find nothing, is there a way to retrieve that project? Considering that I have the videos and photos stored on the ipad, only the project is missing

Did you fail to transfer all purchases to your compter before updating?

Using FCE 4 to edit mov file, inserted 8 chapter markers by double tap M, enter title, click add chapter marker. Rendered and half of the chapter markers unrecognized or not functional. Delete FCE prefs and redo project did not help. How to fix?

Using FCE 4 to edit mov file. Added 8 chapter markers by double tap M, enter title, click add chapter marker. Rendered and 4 of the chapter markers are skipped or not functioning. Deleting FCE prefs and rebuild project did not solve. Solution anyone?

Thanks for taking a look, I am pretty new on a Mac, is this the data you need?

Is it possible to start a project in FCE and finish it in FCP?

Hi all!
I am at home trying to work on a school project and was wondering if anyone had experience with working on a project in FCE then sending it to FCP to finish.
Is this possible?
Thanks!

Hello and welcome to the forum.
You can open your FCE project in FCP, but, once you save it in FCP, you can't take it back to FCE.

Problem importing Motion project into FCP (images 'wobbly' and 'jaggedy')

I'm at wit's end here. I did a short 10 second intro for a press reel in Motion that is pretty basic and looks good in Motion (it's just images from the show flying across the screen, with a cloud emitter as background). The problem is that when I import it into Final Cut Pro, the images get all jittery and wobbly. It looks as if they are going in and out of different interlacing stages, which makes no sense.
The images were taken from the theater's website, and I have have tried them both in JPG and PSD formats. They are all being scaled down from the original size a touch after I import them into Motion (would that be the problem? Didn't think to try that...). As I said, they look fine and clear in Motion, but when I export into a Quicktime movie or render it and play it back in Final Cut Pro, they get all jaggedy/wobbly (for lack of a better technical term). Stills exported from the Motion file look fantastic in Photoshop (and in Final Cut Pro when I use them as background) but a paused image in Final Cut Pro looks very jagged.
I've tried everything I can think of, and even upped all the render settings in the project, to no avail. Any ideas/suggestions?

Sure. I'm uploading two files. One at www.jonathanfrank.com/FCPTest.mov, contains two 10 second movies back to back. The first clip is the project I created from scratch, the second clip is a test I did using a Motion template that I was 'inspired' by. Both were exported from Motion w/Field set to 'none' and export settings set to 'animation' Both looked pretty good when the exported file was opened in Quicktime. I imported the files and rendered them in FCP (and noticed that Field got set to Low/Even along the way somehow) and then exported them into Quicktime via FCP.
I also am uploading the original file of my project that I exported from Motion to see the difference at www.jonathanfrank.com/poetintro1.mov
Due to the size, it's not as easy to see the 'jitter' It was really noticeable when I imported the Travel template sans photos (so you just saw the grey "replace here" images with the circles and grids). It looks passable in the movies, but when Printed to Video, played in FCP (or played in the full-sized format in Quicktime) it's a lot more obvious what I'm talking about.
Basically, the motion just isn't smooth. It's very jagged and jittery, and the definition is dreadful.
Thanks for all your help and interest, by the way. And hope this

LUMIERE created XML files to 'facilitate the migration of project in FCP.'

I recently purchased Lumiere so that I could work with material shot on the JVC GY-HD100U camera in FCP. I understand that FCP is due to for an update soon, but alas, I'm unable to wait. That being said, I have followed the various steps to create mov files from the compressed MP2 files generated through Lumiere. The supposed last step before beginning the edit in FCP is to decide whether or not to 'create FCP XML' or not.
1. What purpose does using XML files instead of the .mov files serve in FCP? It is an option in the import files drop down... What gives? For that matter why and what are xml files function here? Pretty Green, I know
2. Can I edit using the custom 24p Apple Intermediate Codec I was told to create usinf the mov files instead, and then online, or convert the timeline to full resolution just the same using the mov files?
3. If I am getting an error message when trying to import the XML files and am therefore unablr to do so... any ideas why? I had one file with 'acceptable errors'. The log read that there was a path problem with the audio files, which I was unable to fix. The other files would not import at all. Why?
4. What is the best way/codec for editing HDV - outputing te best image resolution without a Xserve raid or the like...
I know this probably reads like questions for a Lumiere forum, but I have tried and received no answers... Any insights appreciated, as my deadline is fast approaching.
-Thanks
Tom.

Maybe this will help from the Lumiere HD forum on their site (http://www.lumierehd.com/forums/showthread.php?t=576) :
720p EDITORIAL WORKFLOW USING JVC-GYHD100 AND FCP5.0
By Jon Farhat
CAPTURING AND EDITING
JVC GY-HD100 720p > LUMIERE HD > FINAL CUT PRO 5.0
Workflow Steps:
1. Launch Lumiere HD and begin with the CAPTURE/PRINT tab.
2. Enter your Logging information into the fields labeled REEL, DESC., SCENE and SHOT. The program with create a name for you based on this information and place it in the NAME field.
3. You can also check AUTOINCREMENT. Doing this will create a Name based on the Scene Name and will add a Shot number starting with 1. Each time you capture a new take, the shot number will increase as well as appear as an extension to the file name as indicated in the Name field.
4. Click on the DESTINATION button to choose a folder for your raw Transport streams. The files placed in this folder will have the naming convention, DESCSCENE1.m2t. Note that these files have the Audio and Video multiplexed together.
5. Use the toggle controls to line find your desired take and back up a while to add a little pre-roll. (Note: LHD does not do Batch Capturing so you have to click the CAPTURE and STOP CAPTURE button for each take.
6. Once you have captured all your takes and placed them in your working folder, click on the PROGRAM STREAM tab.
7. Click on the DESTINATION button in the PROGRAM STREAM VIDEO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Video”. Select OK to choose your new folder.
8. Click on the DESTINATION button in the PROGRAM STREAM AUDIO area. When the navigation window opens, click on NEW FOLDER and create a folder called “Audio”. Select OK to choose your new folder.
9. Now click on the SELECT M2T FILE(S). IMPORTANT NOTE: If you have used the Autoincrement function, or have sequentially numbered files, no not select the folder housing your m2t’s but rather drag select across all your takes, starting from the lowest number to the highest. Then click OK.
10. Now you are read to split the raw m2t transport streams into a separate AIFF audio file, which will be placed in the Audio directory you created and and M2V video file which will be placed in the Video Directory. It is important that the audio files and video files are in these separate directories.
11. Choose the PRESETS pull-down menu In the REALTIME TIMELINE CODEC window. Select OTHER.
12. In the COMPRESSION TYPE Pulldown menu, select APPLE INTERMEDIATE CODEC.
13. Select the FRAMES PER SECOND pull-down menu and select 23.98.
14. Select the OTHER button in the COMPRESSOR > PRESET.
15. In the SIZE section, choose the SOURCE button. Note that you can also create a smaller dimension such as 720 x 406 (16:9 aspect ratio) since this is only used as a proxy in FCP to edit with. But if you have the memory and speed, working in the full 1280 x 720 is preferable. These files will not be rendered into your final master. After you edit with this proxy codec, you will use Media Manager to build a new timeline from the full size raw capture images. It is on this new full-size timeline that you will color correct your movie as well. (Discussed later in this document)
16. In the FINAL CUT AUTOMATION section, check the CREATE FCP XML box, and UN-CHECK the ANAMORPHIC box.
17. Click on the AUDIO FILES? Button and either double-click on the AUDIO directory you created which houses your AIFF’s and then click OPEN or simply select the directory once and then click OPEN.
18. Now click on the SOURCE button in the SOURCE/DESTINATION section. Open the Video folder which houses your de-multiplexed m2v video files.
19. Click on the DESTINATION button in the SOURCE/DESTINATION section and select NEW FOLDER and call this “project name”_REALTIMES. This is where your .mov files which are compressed with the AIC (Apple Intermediate Codec) will be placed.
20. You are now ready to hit the GO button. So, what are you waiting for, hit the GO button now!
21. When the Quicktime settings dialog opens, confirm your SETTINGS, FILTER and SIZE settings under the VIDEO sections. IMPORTANT NOTE: Make sure to select the SOUND > SETTINGS button and change the SAMPLE RATE to 48kHz, 16 bit, Stereo.
22. After Lumiere HD creates your file(s), another window will open asking you to input your XML FILE NAME. Do this then click OK.
23. When you view your “REALTIMES” directory, you will notice that you now have matching files to your demultiplexed Video files. For instance, if your file was named, DESCSCENE1.m2t then then Realtime file you use for editing will be named DESCSCENE1.mov. The XML file will also appear in this destination directory.
24. Open Final Cut Pro. Let’s start by creating a new EASY SETUP preset. (You will only have to do this one time since no Easy Setup setup exists for AIC 24p in FCP. From then on, you will start FCP and simply go to Easy Setup and select this Project Preset before you import your XML skipping to item 29 below) Select AUDIO VIDEO SETTINGS. Under the SEQUENCE PRESETS tab, select APPLE INTERMEDIATE CODEC 720p30 from the scrolling menu. Note that we are going to create a preset for 23.98 from this one by changing the frame rate. All other settings are the same as the 720p30 preset.
25. Select the DUPLICATE button. In the SEQUENCE PRESET EDITOR change the NAME to “Apple Intermediate Codec 720p24” Go ahead and also change 30 to 24 in the DESCRIPTION text box.
26. Confirm the following settings in the GENERAL tab.
a. FRAME SIZE: 1280 X 720
b. ASPECT RATIO: HDTV 720p (16:9)
c. Make sure the ANAMORPHIC (16:9) box is UNCHECKED.
d. PIXEL ASPECT RATIO: Square
e. FIELD DOMINANCE: None
f. EDITING TIMEBASE: 23.98
g. TIMECODE RATE: Same as Editing Timebase
h. QUICKTIME VIDEO SETTINGS: Apple Intermediate Codec.
i. QUALITY: Desired setting based on your system capacity.
j. AUDIO SETTINGS: 48kHz, 16-bit and a Default Config:
27. Click OK, then select this new Preset once you return to the AUDIO/VIDEO SETTINGS dialog and then click CREATE EASY SETUP.
28. When the EASY SETUP dialog opens up create type in the NAME field, “HDV-Apple Intermediate Codec 720p24” Enter a description and then click the CREATE button. Save in the CUSTOM SETTINGS pull-down menu.
29. Let’s start by closing all open Projects and stay in FCP. It’s always good to have a separate 720p project for all your JVC HD-100 sequences. Select EASY SETUP and select your new “HDV-Apple Intermediate Codec 720p24” Of course you will still be in the basic program now with no Projects or Sequences, but your system is now configured to import the XML and the sequence presets will match perfectly. (Keep in mind we did all this to circumvent a bug in FCP5.0)
30. Now go to FILE > IMPORT > XML and select the XML file you created in Lumiere HD. Select CHOOSE. When the IMPORT XML window opens, select the CREATE NEW PROJECT in the DESTINATION pull down menu. Make sure your DEFAULT is APPLE INTERMEDIATE CODEC 720p24. Make sure all buttons are checked, including OVERRIDE WITH SETTINGS FROM XML. You should be able to simply check this override box when importing into any open FCP session and create a new project with the XML settings once the bug is fixed in FCP.
31. This will create a new project named after your XML, and a directory of all your real-time clips called “project name”_REALTIMES.
32. You will also notice that the clip names do not end with .mov but rather end with .m2v. These names actually access the AIC compressed .mov files as this naming convention in the browser is simply a means to locate the uncompressed transport streams later with Media Manager once you have finished editing.
33. Now you can start editing. When you drag a clip to the Timeline, the corresponding AIFF audio file will also travel with it and be locked to the Video. However, until Timecode sync is offered in LHD, you may need to re-sync via the Clapper slate as mentioned above. However, unless you are using very long takes, the sync is within fractions of a frame and isn’t perceptible.
34. Edit away but avoid doing things like color correction or final rendering of effects until you are done with the need to work in real-time.
35. Once you are finished editing, move to the next section.
GOING ONLINE
FINAL CUT PRO 5.0 > LUMIERE HD > JVC GY-HD100 720p
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #1
1. Select sequence in your browser.
2. Choose FILE > MEDIA MANAGER.
3. Media Manager Settings:
a. Media: CREATE OFFLINE
b. Set Sequence to CUSTOM
c. 1280 X 720
d. Pixel Aspect Ratio: SQUARE
e. Anamorphic Box: UNCHECKED
f. Editing Timebase: 23.98
g. Timecode rate: SAME
h. Compressor: NONE or HDV720p30
i. Audio: 48kHz, 16 bit, stereo default
j. Project name: ONLINE 720p24
k. Go to ONLINE 720p24 tab in the browser. Double click on the sequence. (Note: the is currently an issue in LHD’s XML function in that it will not transfer the REEL NAME to the clip. You will have to select all your clips to add the reel name, otherwise the the clips will not be made “Offline”. You can always right-click on the clip an select the MAKE OFFLINE function. )
l. Save project name: ONLINE 720p24
m. Go to ONLINE 720p24 tab in the browser and double-click on the sequence. (clips should be offline if the reel name is added in the brower.)
n. Select all the clips in the browser in the ONLINE 720p24 sequence and choose RECONNECT MEDIA.
o. Point to the original digital negative clips that you demuxed in LHD. (ignore mismatch warning and all your clips should reconnect.
IMPORTANT NOTE: The above routine for going online worked will with FCP4 but now there exists a BUG in FCP5 in the Media Manager function.
BUG REPORT: When doing an offline and choosing "based on clip names" (which are NAME.MOV), Media manage will add .MOV to the source name resulting in NAME.MOV.MOV.
This is happening in FCP5. It never happened in FCP4. We've used this freature extensively before for online/offline editing workflow. The advantage of using clip name vs. file name in the browser is that you can edit a proxy and always keep track of its online version by naming the clip the same name as the online version. Now that it ads .MOV to the name, it's unusable - or you have to reconnect by hand rather than using hte "connect the clips based on relative paths" option.
CONNECTING ORIGINAL MEDIA: ONLINE OPTION #2
STICKING WITH APPLE INTERMEDIAT CODEC.
For now, it is possible to stick with the Apple Intermediate codec when going online and back through LHD to the JVC HD-100. If so, choose NONE compression when exporting a Quicktime from FCP for use in LHD. However, the best case will be to use the above option #1 when Apple gets around to fixing their bug with Media Manager.
Otherwise, you will have to reconnect all your clips to the original m2v’s manually to avoid the codec altogether.
About the Apple Intermediate Codec
The Apple Intermediate Codec is a high-quality video codec that Apple developed for use as an alternative to native MPEG-2 HDV editing in an HDV workflow. Instead of editing the MPEG-2 HDV data directly, you can capture video from the tape source and then transcode it with the Apple Intermediate Codec to optimize the video data for playback performance and quality.
Working with the Apple Intermediate Codec is less processor-intensive than working with native HDV. Unlike MPEG-2 HDV, the Apple Intermediate Codec does not use temporal compression, so every frame can be decoded and displayed immediately without first decoding other frames. The drawback of this codec is that it requires three to four times as much bandwidth and hard drive storage space as MPEG-2 HDV.
Data rates for the Apple Intermediate Codec are variable; the data rates and storage needed may vary slightly, depending on the complexity of your footage. Images with a lot of detail have a higher data rate, while images with less detail have a lower data rate.
Format and Data rate
MPEG-2 HDV 720p30……….2.5 MB/sec. (equivalent to 9 GB/hr.)
MPEG-2 HDV 1080i60/50……….3.3 MB/sec. (equivalent to 12 GB/hr.)
Apple Intermediate Codec HDV 720p30………. approximately 7 MB/sec. (equivalent to approximately 25 GB/hr.)
Apple Intermediate Codec HDV 1080i50………. approximately 12 MB/sec. (equivalent to approximately 42 GB/hr.)
Apple Intermediate Codec HDV 1080i60………. approximately 14 MB/sec. (equivalent to approximately 49 GB/hr.)
Frame Aspect and Dimensions
MPEG-2 HDV and Apple Intermediate Codec feature a 16:9 widescreen aspect ratio for all resolutions.
The 1080i format features 1080 lines (1440 pixels per line), interlaced, using non-square pixels to display a screen ratio of 16:9 (equivalent to 1920 x 1080). The 720p format features 720 lines (equivalent to 1280 x 720) with a progressive scan.
Color Recording Method
Both MPEG-2 HDV and Apple Intermediate Codec HDV record a 4:2:0 component (Y´CBCR) digital video signal. Each sample (pixel) has a resolution of 8 bits.
Note: This article was based on information from the HD and Broadcast Formats document (in Final Cut Pro 5, choose HD and Broadcast Formats from the Help menu).
EXPORTING QUICKTIME TO LUMIERE HD > JVC GY-HD100
1. Use the following settings when feeding a Quicktime file back to Lumiere HD if you plan on generating a 720p24 transport stream to the JVC GY-HD100 or BR-HD50.
2. Quicktime settings:
a. Resolution: 1280x720
b. Frame Rate: 23.976 (23.98)
c. Progressive
d. Audio on whole track.
e. Audio Settings: 48kHz, 16bit, stereo
f. Square Pixel.
3. Open LHD and select the TRANSPORT STREAM tab.
4. Select JVC 720p/24 (GY-HD100, BR-HD50) in the pulldown menu.
5. Select the HDMASTER tab and then choose your .MOV file.
6. Select the DESTINATION BUTTON under the TRANSPORT STREAM section.
7. Now return to the CAPTURE/PRINT tab in LHD and select the print to tape button. Choose your new edited TS (transport stream) file and Click OPEN and it will print to tape automatically.
Special Thanks to the following for their input to this document:
Frederic Haubrich
Neil Boone
Apple Docs: Article number 301599
Jerry

How to delete projects from Vault

Ok, here is the issue.
I work remotely on a laptop and my main library and vault are on my home computer.
I only keep the last couple of projects on the laptop and use the vault to backup those projects. I used managed files.
When I get home from the road, I export/import the projects to the home machine and master library to do further work and use vault on an external for backup.
So, on the laptop, I will delete projects to make more space on the hdd and I dont need them on the laptop any longer (they are already in the master library and vault at home).
However, the problem is that when I delete those projects and then update the vault, it does not seem to delete those projects in the vault. So the vault just keeps growing in size until it fills up and I cant seem to delete those projects from the vault. Again, both the laptop library and the laptop vault are simply for backup while on the road so I'd like to have the vault on the portable be able to stay synced with the library on the laptop. When I delete a project, it does the same in the vault to keep the external space consistent as well.
Is there any way to do this? Shouldnt the vault basically just back up the library and when something is deleted from the library it should be deleted from the vault as well?
As it is, I need to delete the entire vault when it fills the external and create a whole new one after deleting the projects from the library.
Is there an easier way?

I have not contacted AppleCare, but will if this is how its working for others.
Have you tried this and are sure it is working that way? After all, last week after deleting three projects from the laptop and main library and then updating the vault, I had a vault that was over 80 gigs in size while the library was now less than 20 gigs in size.
After deleting the vault and starting a new one, the new vault was approximately the same size as the library, actually slightly smaller like it is with the master vaults at home with the main library.
I have twice now had my external fill up with the vault while I had been constantly deleting old projects on the laptop. So it just seemed to keep adding new stuff to the vault, but not get rid of the old that I was deleting.

I need to output a PAL HDV project from FCP as a PAL DV file with 4 audio t

I need to output a PAL HDV project from FCP as a PAL DV file with 4 audio tracks - specifically one stereo pair to be t1&t3, the other stereo pair to be t2&t4. This is the standard way requested by an international distributor of tv programmes. I understand how to set the sequence in FCP to output 4 audio tracks - either 2 stereo pairs (1&2, + 3&4), or 4 discrete tracks. But how do I then output this as a QT file?
The manual tells me that to export multiple audio tracks, File>Export>QT Movie has it's Config pop-up menu in the Audio Settings area of the General tab of the Sequence Settings. Well, that's set for 4 discrete channels, but the QT export settings only allow for 2 mono or 1 stereo output, and that's what I get when I try it. What it says in the manual just doesn't happen.
Exporting via Compressor, on the other hand, has an abundance of choices of 4-track outputs, none of which are labelled as anything resembling 'discrete'. Would any of those 4.0 settings suffice? Or am I likely to get myself into difficulties further down the line? As I am monitoring for this task on a 2-track audio system, I cannot confirm exactly what I am getting when I use any of those settings.
Any advice would be greatly appreciated!
John

Call me naive, but I've not heard of splitting the stereo pairs like this before.
What broadcaster? (perhaps one of our EU regulars will drop in...)
You can do all sorts of pairing but it is coincident tracks pairing- eg 1/2 + 3/4
Sorry I can't offer anything.
x

FCP 5 has problems with how I did projects under FCP 4.

For the most part, I've been very happy with FCP 5, but it's very buggy in a couple of respects that pertain to how I create my projects. Now, I'm getting an error that is preventing me from finishing a project, so I don't have to tell you how critical my issue is, nor do I have to emphasize how quickly I need an answer.
To begin with, I will explain how I did my projects under FCP 4. I would begin by capturing all the raw footage in OfflineRT with my Power Mac G5 dual 2 GHz, then copy the project file and all media files to their respective locations on my 12-inch PowerBook G4, for portability. I would complete the offline edit on the PowerBook, then create an online project file, which I would then transfer back to the Power Mac. I would recapture footage in the new project, everything would fall into place, and all was well.
Since "upgrading" to FCP 5, this method doesn't seem to work anymore. The first sign of a problem was when I created the online project file on my first FCP 5 project. After an attempt to re-capture the footage on the Power Mac, I got an error message that the video was in an incorrect format, or something like that (unfortunately, this was some time ago, so I don't remember the exact phrasing of the error message). I was able to resolve the issue by unchecking the box in the media manager to delete unused media from duplicated items. This forced FCP to create an online file that captured every frame of my original raw footage, not just the parts that were used in the online edit. It took up more space, but at least I could get the project done.
Now, I'm getting more strange behavior, and it's preventing me from completing my latest project, even though I'm following the same steps I did on my previous project. The first thing I noticed this time was when I first tried building the online project file using Media Manager, it took a VERY long time to build the list of used media - something on the order of 15-20 minutes, when before it only took seconds for similar projects. Then, I got the following error message once the new online project had been created:
"Reconnect Media Failed: An unknown error occurred while trying to reconnect C-2 to the new offline file." This error kept occurring multiple times when I clicked continue until I finally checked the box next to it asking to ignore these reporting errors.
C-2 is one of the master clips for my project.
Undaunted, I proceeded to see if moving the new online project file to the Power Mac and re-capturing the footage in NTSC DV would work. Curiously, the Power Mac needed to capture C-2 twice. Although the length of the clip is only 45 minutes or so, FCP needed to capture 90 minutes. Unfortunately, after capturing, I got the same error message as before, but with different phrasing:
"Reconnect Media Failed - An unknown error occurred while trying to reconnect C-2 to the newly captured media. Try recapturing this clip to resolve the problem."
Recapturing the clip doesn't solve the problem. I keep getting the same errror message. Since this clip is one of my master clips, I simply cannot complete the project unless I can capture this clip somehow and have it reattach to the offline files.
The only thing I can think of, since I've been making projects this way since FCP 3 with no issues, is that it has something to do with FCP 5's new multiclip function. I have been using it extensively, and I suspect the error I received the first time was because every clip was linked to others through multiclips, and some shifting of in or out points may have occurred, which broke this link. Forcing FCP to capture all raw footage in its entirety resolved that issue the first time, but not this time.
Would someone PLEASE tell me ASAP how to fix this? How can I complete my project in online, DV-NTSC quality? Is there a possibility I can recapture the files in my offline project in DV quality, perhaps?
How can I prevent this from happening in the future? As I said, this never happened before I upgraded to FCP 5, and if this is the price I have to pay to have multiclip editing, I don't know if it's worth it. Maybe I should get a refund.

Finally found the answer myself. My camcorder glitched during the offline capture session, and it didn't recreate the glitch during the online capture, so the frame counts were different.

Deleting project tabs - and whole projects in FCP

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