FCE Best workflow practices + color flattening?

Hey guys - I'm a relative amateur at Final Cut Express but I can work my way around it easily enough. I've just finished a basic editing project but when I export the movie (using the "Export Quicktime Movie" or "Export Using Quicktime Conversion" dialogues) the colors desaturate and wash out.
It's pretty obvious - all I have to do is open up my final sequence in Quicktime Pro and compare it frame-to-frame with my sequence in Final Cut Express. The colors are noticeably less saturated. It's a bummer because my sequence looks great in FCE. Any suggestions?

1. Are you viewing the two versions on the same part of the screen because monitors are notoriously uneven in their brightness. I have 2 CRT Macs together with the LCD iMac and they are all brighter on the left side of the screen. The difference is very noticeable when viewing the identical image simultaneously in the Viewer and Canvas.
2. Have you viewed the video on a TV as you may find it looks perfectly OK?

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    Add and edit photos and other images
    You can add a photo or other image (in a supported file type) to a page in your book by dragging the photo from theMedia Browser, the Finder, or another application.
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    ShowMask (crop) a photo
    ShowChange a photo’s brightness, contrast, and other settings
    ShowRemove the background or unwanted elements from a photo
    Important:  Images can’t be larger than 25 megapixels (5000 x 5000 pixels) or 50 MB.
    SEE ALSO
    Add an accessibility description to an object 
    Add a title, label, or caption to an object
    Was this page helpful?Send feedback.
    Copyright © 2012 Apple Inc. All rights reserved.

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  • Need help regarding mm best purchasing practices..

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  • What's the best workflow for Home Movie Importing and Enjoying?

    I'm new to iMovie (and the mac) and have started importing all my home movies from my camcorder into iMovie. I quickly realized that movies take a huge amount of disk space and it may or may not be reasonable to import all my movies and keep them on the hard disk in .dv format. At 12GB/Hour I would need 1.2 Terabytes of storage (plus backup). If that is the best workflow, i'm happy to invest in a few terabytes of storage and back up. But before I do that, I want to check to see if there is a different workflow I should follow given my use case.
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    I am in a similar mode, though about half as much existing DV footage.
    +Should I maintain my event library in .dv format? (and bite the bullet on the storage)+
    Short answer, yes; long answer:
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    This is an aside, but might be useful, I imported one tape at a time, let iM09 create a new event and split per each day. THen I renamed every event based on what the content was before doing the next tape. This really helps later on once yo realize you have a hard drive with 50 hours + of everything in your life on it. I included the year in the name in some way, for example, John's wedding 1994, Hawaii 2000, Hawaii 2004. Then I ended up drag/dropping Hawaii to one event.

  • Aspect Ratio issues getting 16:9 to look right, what is the best workflow?

    Hi all,
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    This is where it gets a bit confusing. In order to understand where I had originally gone wrong in my workflow I did some more experiments, this time with the settings on the camera (which I use for a deck in batch capturing). I found the function on the camera where you can set the "TV Type" to either 16:9 or 4:3. I switched the TV Type to 4:3 and when batching it went back to the original letterboxed look (in the batch preview screen that you see while capturing), however when put into the viewer and canvas it was too letterboxed and looked squashed vertically. So then I switched back to TV Type 16:9, now it looks 4:3 squeezed in the batch preview screen (no letterboxing, no missing pixels), however when it goes into the viewer and canvas it becomes letterboxed like the original footage that I had described earlier.
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    Hi there,
    I am not sure if it is necessarily a bug, but its a matter of understanding all of the settings needed. I had the same problems for a while but after a fair bit of trial and error have found some workable settings.
    It probably has more to do with the export settings rather than what viewer options have selected (I don't think that viewer settings affect your export).
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    I am using compressor to export with aspect ration set to automatic 16:9. Then use DVDSP with the track set to 16:9 letterbox, it seems to export to DVD with the correct aspect ratio that way.
    I am having trouble with the image strobing, looks like some kind of interlacing problem, but at least I have got it in the right aspect ratio.
    Its typical video, solve one problem and it just creates another.
    I am yet to find the absolute best workflow.
    In response to Andy above, the original letterboxed footage probably did have something to do with the downconverting settings on the camera, as when I import without downconverting it does not letterbox. In the HDR-HC1 there is an option in the menu called "TV Type" with options of 4:3 or 16:9. I was reviewing my footage on a 4:3 television so I most likely had it set to 4:3 which created the letterboxing in the viewer when I then imported the footage.
    Importing the footage in HDV solves the issue of aspect ratio, but creates a new problem with the image strobing.
    I hope this was some kind of help to you.
    Liam

  • Why jpeg file exported from Aperture with 300 dpi's it opens with 72 dpi's on PS ( image size)? I've tried several combinations and all give different results. And I am confused on what is the best workflow for me.

    Ok.
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    This is a known Aperture issue: Problem with Aperture 3.6 preset exports. | Apple Support Communities
    Benjamin

  • Need Help! Encore/PRPro 5.5 Slideshows w/ stills & videos: Best workflow/settings?

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