FCP color rendering in QuickTime

The colour (I'm English hence the spelling) of my video (which I uploaded to the web) looks different when played back in Safari from the same video when viewed with Firefox and played back on my desktop with QuickTime - both these are colour accurate to the output of Final Cut Pro. Is there any reason for this? Am I missing a trick with a color profile setting in QuickTime or Safari? Safari seems to be throwing things off?
I have ticked the box in QT preferences which enables Final Cut Pro color compatibility.

Thanks. I think I'm going to start using compressor more. QT just doesn't have the control I need and not being able to carry through the gamma settings from FCP is a hassle.

Similar Messages

Color Renders and FCP

What happens to the sequence in final cut pro if I erase the COLOR renders?
So I have a project in COLOR (that came from FCP), I finish my grade, send it back to FCP.
I would like to save space by erasing the COLOR renders, but wanted to know if it would affect the graded sequence in FCP if i do that?
Thanks,
Adam

What happens to the sequence in final cut pro if I erase the COLOR renders?
Everything in the sequence you sent back from Color will go offline.
I would like to save space by erasing the COLOR renders, but wanted to know if it would affect the graded sequence in FCP if i do that?
Yes, it would. FCP is referencing those renders...it is no longer referencing the original media.
Shane

Color renders huge 10 bit uncompressed files

Shot 1440 CBR with JVC everio GZ-HD7, log&capture into FCP good, Sequence done, send to color renders out Huge 10-bit uncompressed codec sequences. FCP sequence settings to capture in prores HQ and same with color sequence in FCP. Files look ok but a 10 min clip eats up 60GB on firewire 800 drive. I haven't even sent to compressor yet. FCP even has trouble playing back these files probably due to the 1336 mbps playback dada rate. I must be doing something wrong.

Uncompressed 10-bit is huge. No surprise. Why are you rendering out of COLOR in that format if you intend to go to ProRes422?
jPo

Color renderer not working......

Hello...
I am displaying color in a table column... But instead of showing the color it is printing the color object like java.awt.Color[r=122,g=134,b=167]. What could be wrong....
I am using AbstractTableModel and using fireTableRowsInserted and Updated method to add row to the table. I table row is a string of Objects. Please help... I am running out of time. I have a demo of my work as soon as I am done, so help please . I am adding the code below.
Object[] dataRecord = new Object[5];
dataRecord[0] = (Object)instStateClr;
dataRecord[1] = InstId;
dataRecord[2] = StartTime;
dataRecord[3] = EndTime;
dataRecord[4] = CorrValue;
instactTabModel.updateInstActSumm(dataRecord);
This is a string of Object of which the first location contains a color object.
The color renderer used is as follows...
instActyTable.setDefaultRenderer(Color.class,
new ColorRenderer(true));
The abstract table model is as given below...
* InstActSummTableModel.java
* Created on June 23, 2006, 10:05 AM
* To change this template, choose Tools | Options and locate the template under
* the Source Creation and Management node. Right-click the template and choose
* Open. You can then make changes to the template in the Source Editor.
package action.vector.bam;
import java.awt.Color;
import javax.swing.table.AbstractTableModel;
import java.util.Vector;
* @author serjith
public class InstActSummTableModel extends AbstractTableModel {
protected static int IA_NUM_COLUMNS = 5;
protected static int IA_START_NUM_ROWS = 0;
protected int iIA_nextEmptyRow = 0;
protected int iIAnumRows = 0;
static final public String szInst_Status_Col ="";
static final public String szInst_ID = "Instance ID";
static final public String szInst_Start_Time = "Start Time";
static final public String szInst_End_Time = "End Time";
static final public String szInst_Correlation_Det = "Correlations...";
protected Vector instActdata = null;
/** Creates a new instance of InstActSummTableModel */
public InstActSummTableModel() {
instActdata = new Vector();
public String getColumnName(int column) {
     switch (column) {
     case 0:
     return szInst_Status_Col;
     case 1:
     return szInst_ID;
     case 2:
     return szInst_Start_Time;
     case 3:
     return szInst_End_Time;
case 4:
return szInst_Correlation_Det;
     return "";
public synchronized int getColumnCount() {
return IA_NUM_COLUMNS;
public synchronized int getRowCount() {
if (iIAnumRows < IA_START_NUM_ROWS) {
return IA_START_NUM_ROWS;
} else {
return iIAnumRows;
public synchronized Object getValueAt(int row, int column) {
     try {
Object[] IA_w = (Object[])instActdata.elementAt(row);
switch (column) {
case 0:
return IA_w[0];
case 1:
return IA_w[1];
case 2:
return IA_w[2];
case 3:
return IA_w[3];
case 4:
return IA_w[4];
     } catch (Exception e) {
     return "";
public synchronized void clear() {
     int oldNumRows = iIAnumRows;
iIAnumRows = IA_START_NUM_ROWS;
     instActdata.removeAllElements();
iIA_nextEmptyRow = 0;
     if (oldNumRows > IA_START_NUM_ROWS) {
     fireTableRowsDeleted(IA_START_NUM_ROWS, oldNumRows - 1);
     fireTableRowsUpdated(0, IA_START_NUM_ROWS - 1);
public synchronized void updateInstActSumm(Object[] InstActRecord){
String InstActRec_ID = (String)InstActRecord[1]; //find the Name
Object[] p = null;
int index = -1;
boolean found = false;
     boolean addedRow = false;
int i = 0;
int vecsize = instActdata.size();
if (vecsize == 0){ System.out.println( " The data vector is null");}
else{
System.out.println(" The data vector is not null "+vecsize);
for (int l=0;l<vecsize;l++){
Object[] q = (Object[])instActdata.elementAt(l);
for(int m=0;m<q.length;m++){
System.out.println("Vector Content "+ q[m]+" at position "+l);
System.out.println("numRows "+iIAnumRows);
System.out.println("nextEmptyRow "+iIA_nextEmptyRow);
System.out.println("index "+index);
System.out.println("data.size() "+instActdata.size());
while (!found && (i < iIA_nextEmptyRow)) {
p = (Object[])instActdata.elementAt(i);
System.out.println("value of p[1] -- "+(String)p[1]);
System.out.println("value of PTypeName is -- "+InstActRec_ID);
String pofOne = (String)p[1];
if ( InstActRec_ID.equals(pofOne)==true) {
found = true;
index = i;
} else {
i++;
if (found) { //update old player
     instActdata.setElementAt(InstActRecord, index);
System.out.println("Updating the old player");
} else { //add new player
     if (iIAnumRows <= iIA_nextEmptyRow) {
          //add a row
iIAnumRows++;
          addedRow = true;
index = iIA_nextEmptyRow;
     instActdata.addElement(InstActRecord);
System.out.println("Entering a new player");
iIA_nextEmptyRow++;
     //Notify listeners that the data changed.
     if (addedRow) {
     fireTableRowsInserted(index,index);
     } else {
     fireTableRowsUpdated(index, index);
System.out.println("//////////////////Start in the end//////////////////////////////");
for (int l=1;l<instActdata.size();l++){
Object[] q = (Object[])instActdata.elementAt(l);
for(int m=1;m<q.length;m++){
System.out.println("Vector Content "+ (String)q[m] );
System.out.println("numRows "+iIAnumRows);
System.out.println("nextEmptyRow "+iIA_nextEmptyRow);
System.out.println("index "+index);
System.out.println("data.size() "+instActdata.size());
System.out.println("///////////////////END////////////////////////////////////////////");
Reply Please........

Any sample codes are available...scroll back to the top of the page
look to the left
"Search Forums"
enter:
getColumnClass
click the button
enough reading for a month

Adjust color rendering for your camera in Camera Raw

According to the help node with the above subject, one can embed profiles into TIFF, JPEG, PSD and DNG files and select them within Camera Raw 4.
I can assign profiles to all excepto DNG files, since DNG files cannot be saved and thus cannot be persistently be assigned a profile (say created with ColorEyes 20/20 camera profiler software). How then can I assign a profile to a raw image? Is the help incorrect or mis-written?
Thanks,
Juan Dent

Changes introduced with DNG version 1.1.0.0 included new tags AsShotICCProfile (+ AsShotPreProfileMatrix) and CurrentICCProfile (+ CurrentPreProfileMatrix).
If a camera or editor uses these, are the ColorMatrix1 (and if required ColorMatrix2) tags required to be present anyone, for example for ACR to use, while these xICCProfile tags are an optional alternative? How does it all fit together?
AsShotICCProfile:
"This tag contains an ICC profile that, in conjunction with the AsShotPreProfileMatrix tag, provides the camera manufacturer with a way to specify a default color rendering from camera color space coordinates (linear reference values) into the ICC profile connection space.
"The ICC profile connection space is an output referred colorimetric space, whereas the other color calibration tags in DNG specify a conversion into a scene referred colorimetric space. This means that the rendering in this profile should include any desired tone and gamut mapping needed to convert between scene referred values and output referred values.
"DNG readers that have their own tone and gamut mapping controls (such as Adobe Camera Raw) will probably ignore this tag pair".
CurrentICCProfile:
"This tag is used in conjunction with the CurrentPreProfileMatrix tag.
"The CurrentICCProfile and CurrentPreProfileMatrix tags have the same purpose and usage as the AsShotICCProfile and AsShotPreProfileMatrix tag pair, except they are for use by raw file editors rather than camera manufacturers".

Cross product Color Rendering Issue (probably not profiles)

I can't yet figure this scene out:
I use a grayscale tif file as a slide/theme background in Apple's Keynote. Since it's grayscale, it prints using only K ink from both Preview and when imported into an InDesign page.
Since the grayscale serves only as background, completed slides are of course full of color elements on top of the background. Trouble is when I print to my color laser the background area prints in CMYK (and as a further test, when I print to an inkjet the background area prints in RGB or RGBK). This "quatra-toning" massively shifts the variously shaded K background to very blue-ish. (the images is of a piece of slate stone).
This color shift persists no matter how I can figure to save the slides: using Keynotes export to save slides as jpgs, pngs, or tifs. It also persists when printing from screen captures (which I believe OS X saves as pngs by default). Yet *all* these formats show a nice grayscale slate background onscreen.
I guess there's some color rendering, or color management, or both issue. I'm no color management maven, but I have used Bridge to set a suite-wide colorspace, and have used Photoshop to change the export files' colorspace as needed.
What's the fix? TIA. Bart

Bart,
Why not try the Color Management forum: http://www.adobeforums.com/cgi-bin/webx?14@@.eea5b31
Neil

Color rendering problem

I'm seeing strange and inconsistent color rendering behavior is CS3 with one specific photo (if it is happening elsewhere I have not noticed it).
The photo is in a CRT2 file shot with a Canon 1Ds MKII, and depicts form autumn clematis; the shot is predominantly green and white, with some cream & yellow.
When I open the folder containing the raw file in Bridge, the color rendering in the thumbnail is what I expect. However, as soon as I select the thumbnail it (and the version in the viewing pane) gain a bright green color cast. The same cast is present in Photoshop.
If I open the same CR2 file in DXO Optics, the colors start as expected. I manipulate the photo a bit to get the colors I desire, and save as a JPEG.
If I open the resulting JPEG in Photoshop, it immediately acquires the same bright green color cast. If I open it in Windows Picture Viewer, it also has the color cast.
However, if I reopen it in DXO, or open it with the Quick Time picture viewer I see the colors as I set them in DXO.
I'm stumped -- anyone have any suggestions? Color space is ADobe RGB throughout...

Might be a case of applying color profiles twice. Does the color look correct when you disable color management in Bridge and PS?
Mylenium

Color rendering issue

i'm using aperture since version 1. and till today i see the same color rendering issues which occurs when applying heavy exposure correction on my canon pro camera files. when i correct overexposed images i get a strange yellow posterisation not a smooth transition like with, capture one, raw developer, adobe lightroom & arc. i decided to do a more controlled test to see whats going on. the result is kind of disapointing...... http://db.tt/xGvmhOzK not only is aperture far behind when it comes to recover overexposed areas compared to it's competitors it also shows missing colors !

well i tried adjusting them, but it makes no difference, i am thinking it is a xorg issue

In FCP, let us have QuickTime MPEG-2 Player themselves included inside ?

I) -
I started with Final Cut Pro 3, then 4 and currently Final Cut Studio 5.
It seems me to have known that the installation of these integrated softwares the alternative of the version QuickTime MPEG-2 player which is sold with share on the APPLE site.
However, it seems to to me that when I open some QuickTime videos, it that I am announced to me misses the module making it possible to read it and I note that it probably acts of reader MPEG-2.
Can you so really say to me to the installation of Final Cut Pro or Studio, I acquire the QuickTime
Components which enables me to read format MPEG-2 ?
I tried to make a search using "spotlight", nothing does not indicate to me that it is there well, nor that it is found in my system.
Can you say to me, in the discs of installations of CPF or Studio, where can I find the reader QuickTime MPEG-2 ?
Or if there does not exist and that I must buy it on the site QuickTime Components - Reader MPEG-2 Player?
Thank you for your information.
II ) -Indeed there are not enought precision in my first question.
To answer holds;
I thus have the version of FCP 5 installed on my PowerBook G4 last series and also QuickTime Pro.
All goes very well except that I thought that QuickTime Components MEPG-2 Player was installed obligatorily when we charge FCP.
I note the following phenomenon;
I except have in my opinion all the components of QuickTime that of QT MPEG-2 since I never bought it owing to the fact that I think of having it with FCP.
When I want to read a video QuickTime MPEG or avi or other QT all this master key very well, except that some times it appear the message following to the opening of film: :
"an additional software is necessary so that QuickTime can read these media. It is perhaps available starting from the page of the QuickTime components".
If I read this video, I see the pictures but I do not have any audio.
This same video if I play it by opening it in "MPlayer OS X 2",
in this case I also find the Audio sound, but never audio starting from QT Player for this video.
This phenomenon is not on all videos, but only that on someone.
So unless I make an error of reasoning, it seems to to me that that must come that I do not have QT components MPEG-2 Player.
What do you think about it?
And : In FCP, let us have QuickTime MPEG-2 Player themselves included inside ?
If "yes" : Where ?
Can you say to me in which files I find QT MPEG-2 in FCP ?
Thank.

QuickTime MPEG-2 component is installed with FCP
Not all audio formsts embedded in MPEG-2 files can be natively decoded by Quicktime and so will not play the audio in Quicktime Player. However, those same files may play in other apps which do not use Quicktime for decoding.
You can enable more file type compatibility if you download and install the Perian quicktime component ... it should allow you to play back most of these files in Quicktime Player
FCP does not support audio playback of "muxed" formats such as some MPEG2 files. You must "demux" these files first ... you can do this with MPEG Streamclip
Bon chance
Andy

Avoiding rendering in FCP when working with Quicktime sources

I do a lot of stuff which requires clips dropped in from a variety of odd sources like SnapzPro screen grabs, ripped DVD (via Handbrake), and other compressed formats in differing resolutions.
My usual method is to use Quicktime export to bring everything up to my working resolution, aspect ratio and frame rate (PAL DV 48k) before bringing in to Final Cut. Mainly because I hate the way that FCP won't play anything except stuff off tape in the timeline without rendering.
But. Using the Quicktime DV export works fine for the pictures, but audio still has to be rendered. (It's not a missmatch of sampling rates 32k/48k by the way).
Can anyone offer a set of export settings for Quicktime that I can use on my sources to get me files that work as well as stuff captured off DV tape?
Here's hoping

Have you tried the appropriate DV preset in compressor? This should bring everything up to snuff and eliminate (or at least minimize) the possiblity of operator error.

General error in FCP re: rendering and export after Quicktime 7.5.5 update

Hi
My FCP 6.0.4 rendering and export to Compressor no longer works after an update to Quicktime 7.5.5.
Rendering fails after a few seconds "General Error!" pops up. Exporting to Compressor, after setting it compressing, Compressor after a few seconds fails. (audio is processed) My current work around is exporting a sequence using Quicktime conversion (time consuming) and then opening in Compressor.
I've done the usual, deleting prefs, new sequences and projects, even saving movs in different codecs.
(been using H.264)
My sequences are all custom sizes but tests using presets also fail.
Any ideas anyone?
And I was so happy the Quicktime upgrade could play sequence movs recorded months earlier that until now I couldn't play properly due to previous Quicktime upgrades!
Apple gives with one hand and takes with the other....

Hi There,
Thanks for your reply on this.
Well basically since I'm using content already in the H.254 codec (eg: a trailer off the internet, or the downsizing of HD footage) i'm just exporting to a codec that didn't have to be rendered and gave quality results. I used motion jpeg B as an export codec because it was quick (although HD space hungry) with no drop in quality. The resulting exports could be imported into a custom sequence (720 x 405) as square pixel aspect ratio files. Overlapping the canvas with other windows (eg: viewer) meant I could play a clip (with dropped frames) but not have to render it. I selected the H.264 codec as the sequence codec because I've found other codecs introduce darkening or lightening or blurring or other undesirable artefacts when exported to Compressor. H.264 used in the sequence settings exported through Compressor would give resulting m2v's as sharp and contrast accurate as the source file.
That was until the recent 7.5.5 Quicktime update where attempts to do the same things I did before result in "General Error!" coming up after a few seconds of play or rendering.
Traditional DV codecs are "blurry" in my opinion, especially when coping with web content or conversion of HD downloads.
If you can suggest an editing codec that works best with FCP that is quick, doesn't introduce blurring or general degrading of the image I'd be happy to try it out. I typically downsize HD content from the web for DVD playback, so it's usually in a H.264 codec already. So i would need a codec for export from Quicktime that would work best with a codec in FCP. That doesn't alter picture quality when compressed to m2v in Compressor.
Thanks!

Color renders fine, on sending back to FCP end up with smeared images

Hi Hope someone can help. I send my (Clients) sequence DV PAL 720X576 16:9 anamorphic to color. BTW this was footage down-converted from HDV1080i50. Do all the color corrections and grading, footage looks great, send to FCP and hey presto smeared images in the viewer and canvas, thumbnails look ok in the timeline. Now what i mean by smeared images is not just a slight smearing but unrecognizable images, useless video.
Ok some background: No transitions, filters of any sort for that matter, no motion effects of any sort, in fact none of the listed items of what not to send to Color. The sequence is only 37s give or take a frame. There are no gaps in my sequence and Yes, I've tripple checked my sequence settings in FCP. User prefs and project settings in Color and pretty much left at default with the exception of using floating point and auto save set to 10min.
FCP 6.0.2, Color 1.0.2
Desparately seeking help.
FCC63

Next time I'm across the pond (not that often) we'll break out the Bushmills, unless its Jamesons.
Getting out of HDV first was done correctly. Personally, I think there is nothing else that you can possibly do to damage the image further (than the origination format), so nothing to lose by going to one of the Apple ProRes codecs -- your choice of Regular or High. There have been so many historical (hysterical) issues with PAL-DV it would make a novel.
I was wondering if the next thing to do was import the directory containing your rendered footage and do a brute force drop of all the clips onto the timeline -- they are sequentially numbered, so this CAN be done in one step. Not elegant.. but for a cuts-only timeline it is what we occasionally were forced to do when the application was Final Ouch. There's nothing compulsory about "Send to.." or XML import... thankfully, in a number of cases...
jPo

Fcp - color - fcp ALL BLURRY in PAL Anamorphic - any ideas?

ok, so admittedly i'm not working on my normal system but i've been using color (and final touch before that) for a while on a number of small and large fcp projects (dv, hdv, prores) and now i'm working on a small tv show for austrian broadcasting.
naturally the project is in pal and it is in standard pal anamorphic.
when i send to color everything looks ok, my viewer is squeezed (there is no pal anamorphic setting for color it seems, just regular pal 4x3) but checking the geometry it all looks good so i wasn't concerned.
i do a correct on a 2-minute section to test everything and it all looks good in color.
i render everything out and send it back to fcp and lo and behold EVERYTHING is BLURRY.
as if a defocus filter has been applied.
i've tried a bunch of different settings, i've removed grades, de-interlace, everything and it still comes back blurry.
any ideas?
thanks,
nick.

FCP issue?
Check the rendered clips OUTSIDE of FCP, ie in Quicktime. There may be a scaling/RTE/proxy thing happening if there is not an exact match between the rendered material and the way FCP wants to handle it. Check Audio/Video settings. The anamorphic nature may be throwing a curve.
jPo

FCP - Color Workflow?

Ok, I'll try to be as descriptive as possible in my explanation of my workflow. I'm working on color grading a small independent film for a friend. Since we both of Apple computers, we are using FCP and Color. The directory is doing all the editing on her Macbook Pro. I'm doing all the color grading on my Mac Pro. We are both working on external 1Tb hard drives (1 for editing, 1 for grading).
She starts by editing the film. I already have a copy of her FCP project (and all media files) on my external hard drive. So when she tweaks and edits a sequence, I just copy her FCP project onto my external. I then open her project and export an XML from FCP to reconform with Color.
Color reconforms the XML fine. It was my knowledge that to get from my Color to her FCP, that I would just need to render my Color project, give her the XML that Color creates for her to import into FCP. Unfortunately that is not as smooth as I was hoping. As soon as she imports the XML into FCP, it is constantly trying to reconnect the media. No problem until I realize that the render in Color produced .movs on my external. I proceed to copy those onto her external and they are not able to link up. I keep getting the error that there is a difference in audio - video tracks.
I wish the workflow was easier between both programs when they are on different computers. It just seems that they are not meant to handle a project that is edited and graded on different machines. Does anybody have any suggestions to improve the workflow? I'm sure I could be doing something wrong, but I searched and read and could not find much info about working on different computers. Thanks for any help.

The issue that you are facing is that you did not realize that COLOR would render new media, and it is all video ONLY.
The workflow that succeeds for sharing projects is one in which the media moves with the project.
You do not need to move everything everytime. There is a strategy using "Media Manager". Your production partner should "Media Manage" the locked project to the transport drive. You would open that and create a target directory on that drive for COLOR. Render your graded COLOR version to it, do a Send To... FCP, where it will create a new (from COLOR) sequence in the original FCP project and return the whole shebang to the editor. Beware that there may be some panning issues with the XML -reconnected audio. In that case, copy the audio from the original FCP (for COLOR) into the new (from COLOR) sequence. Or bake it out from the original and drop it into the new graded sequence, or wait for the finished wav from the audio post house.... oh, wait a minute, you're probably not getting the audio mixed or sweetened, but whatever.
There is another, cumbersome, workflow and that has to do with creating a "Final Gather" Quicktime for export. Mostly that option is employed with dpx sequences, since you will by now have probably figured out that COLOR somewhat inconveniently renders each new QT into its own subfolder, which makes them a tiny bit inaccessible for most manual reconnection approaches. To be honest, I haven't used it for so long, that I'm not sure that it works for QT anymore. Worth looking up in the Manual.
Would you mind exploring that for me?
jPo

FCP - Color Workflow Question

I have DVCPRO HD sequences in FCP that I have applied Smoothcam filter to in many instances (one 10 minute sequence probably has Smoothcam applied to at least 15 of the clips). With over 4 hours of footage and Smoothcam applied often it would seem very labor intensive to have to create individual Quicktime movies for each of the clips where Smoothcam is applied and then drop those into the FCP timeline before sending to Color (especially as I will likely have to tweak the Color settings multiple times before getting the perfect outcome).
My sense is that I may be able to minimize the workload by:
1) creating one Quicktime movie of say an entire sequence with multiple instances of the Smoothcam fliter applied (instead of creating individual Quicktime movies of each clip where Smoothcam is applied)
2) sending that Quicktime movie to Color for grading
My question under the scenario directly above is how do you then split the Quicktime movie into the individual clips in Color so that each clip can be graded individually?
The only other alternative I can see is to:
1) remove all of the Smoothcam filters (and sharpening filters) in the FCP timeline
2) send sequence to Color for grading
3) roundtrip to FCP
4) apply Smoothcam filter (and sharpening filters) to all of the individual clips again after color grading is totally complete
I am a little daunted by the thought of this with over 4 hours of DVCPRO HD footage. Your suggestions regarding the best and most efficient workflow would be greatly appreciated.

Not quite six of one and half a case of the other, but you are in for some effort either way. Thomas Edison had an observation about "opportunity" arriving dressed in coveralls, but most people take a pass on it because it looks like "too much work".
If you elect the "bake out one big QT file" workflow, there is some efficiency to bringing the new QT onto a copy of the originating timeline and using that as a cutting guide to "razor in" the event boundaries, and then send that to COLOR. It will save a significant amount of re-rendering time.
If you remove the Smoothcam and other filters and send the raw source media to COLOR, that would be a normal workflow. I'd imagine there will be a significant amount of "attribute" copying after the fact, and of course all the smoothcams will have to go through "re-analysis". (I'd send a duplicate sequence, so the original filtered sequence can act as a source.)
The smoothcam filter will probably yield a different rendition on the COLOR-graded media, since the Boolean re-scaling (to keep the image within the active picture area) may not exhibit the same behaviour -- since you will only be dealing with the selected footage, rather than the entire source clip.
Sending the clips with an attached Smoothcam filter would probably result in massive render times, since FCP requires the entire intact source media to compute the stabilizing script, similar to sending a clip with a speed adjustment.
jPo

FCP color rendering in QuickTime

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