FCP settings lock

Hi All,
Is there a way to lock settings on FCP? For example is I want to only have it just do DV NTSC? I don't want others changing it to PAL, HDV, or HDTV.
Thanks for any ideas
Babak

Setting up separate User Accounts would be the best way, as Michael has already suggested. But if you really want to keep everything the same from one session or project to the next, locate the main Final Cut Pro preference file, right-click on it and select "Get Info" and click the LOCKED checkbox. Preferences changes from then on will default back to whatever state they were in when you locked the file on each and every launch of FCP.
-DH

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Transport of locking settings / locking characteristics

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is it possible to transport locking settings/lock characteristics (for an InfoCube) from development to production system. I couldn't find the correct object in the transport connection. Or do I have to set it manually in the produktion system?
Kind regards,
Johannes

You can't transport the lock settings.
You have to do them manually in each system.

FCP Settings for progressive DVD Output

Hello FCP folk,
I'm working on a project that uses still photos as the only visual content, most of these are historic black and white. Wondering if I can take advantage of this and work towards a progressive scan DVD as the final out put.
Project is being edited in Final Cut 5, OS 10.4.3, playback through an ED and HD ready LCD monitor.
I'm wondering what the proper workflow should be to work towards this end. FCP settings? Output from the editing timeline options? DVDSP options ?
Any suggestions appreciated,
Thanks,
Drew

Thanks for that Ann.
I've done small samples at 720 x 25 720 x 50 1080 x 25 1080 x 50 before using Dynamic Link (which I must admit I've found very convenient and effective previously) to set up in Encore and burn without extras such as menus.
Playing back on a 37" TV we can't see a discernible difference apart from a little shimmer on horizontal lines.
I think I'll press ahead with 720 x 25 with this project which is what I've used before and am confident with but would welcome more advice on this topic.
I wonder if these settings would be even more critical should I need to output to Blue Ray
Norman

FCP Settings

Does anyone know what the correct FCP settings are to import footage from tape using the JVC GY-HD100U camera. The footage is HD 1280x720.
Thanks,
Mike

HDV 720p24.
And HDV is difficult to work with...there is a LOT to watch out for. You have to read these forums...search for HDV...too much to be said. Perhaps someone else will say more.
Go to www.hdforindies and click on the FAQ...that says a lot.
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Lost FCP settings

I recently had to do a clean re-install of the Mac OS and FCP. Before I did that, I copied the contents of my home directory to a backup disk.
After reinstalling FCP, I find that it takes much longer to export to a .mov file than it did before -- several hours for a 15 minute video, whereas before it would take maybe half an hour. I assume some FCP settings are different than they were before.
Before I start researching the individual settings, can you please tell me where FCP stores its settings? Is there an individual file that I could copy from my backup disk that would restore all my previous settings?

FCP's preferences are stored in your home user's folder->Library->Preferences
-DH

FCP X locks up (not responding)

Twice now on two different projects, once after hours of editing and just today after 30 minutes of editing, FCP X locks up (not responding), spinning beach ball, and I must force close it. When I go to reopen the program and open my project, it is completely BLANK, nothing in it.
I have the lastest upgrade to FCP X and this has happened on both my Mac Pro desktop (Early 2009 with 10 GB of memory and plenty of HD space) as well as on my new Macbook Pro on an external drive.
I HATE that I cannot save the file myself and that APPLE thinks I'm too stupid to do so. YES, I know I can create a whole new project, but that entails saving related files, etc. Just not as simple as a simple SAVE.
Can anyone help me? I am not comfortable starting on a large editing project, unsure if it will lock up and I'll have to start over.

My advice is to learn to use a new Application and get comfortable with it (working reliably) before you even contemplate starting an important project.
FCP X is working very well for a great number of people, but it does have its quirks too.
To be able to help you find out why you are getting crashes, you need to supply a lot more information than you already have - length of projects, what video codec you're working with, Whether your media is optimised, where your media, projects and events are stored - how the HDs are formatted etc etc.
Don't lose heart! It's an awesome application - you just need to see why it's not working well on your system.
Here are some of the most common ways to improve performance (you may have already addressed some of these but it's worth reading them.
FCP X runs very well (not perfectly, by any means) on my 2009 MacPro 2 x 2.26 GHz Quad-Core Intel Xeon with 16 GB RAM and ATI Radeon HD 5870 1024 MB
First, check the spec of your iMac against the system requirements:
http://www.apple.com/finalcutpro/specs/
Particularly your graphics card. If it's listed here, it's not suitable:
http://support.apple.com/kb/HT4664
If you are getting crashes, there is some conflict on the OS. Create a new (admin) user account on your system and use FCP X from there - if it runs a lot better, there's a conflict and a clean install would be recommended.
Other ways to improve performance:
Create optimised media.
Hide Waveforms at all times when you don't need them (both in Browser and Storyline / Timeline). They take up a lot of processor power.
Create folders in the Project library and put any projects you are not working on currently, in there. (Twirl it closed to hide them).
Move your Projects and Events to an external HD (make sure it's formatted OS Extended - with journaled on or off) and run from there.
The biggest single improvement I saw in performance was when I upgraded the RAM from 8 GB to 16.
Andy

FCP Preferences locking and also machines setting slocking

Hi,
I have FCP 6.0.3 with Apple Mac.I am maintains the 5 fcp machines and there are 8 vt editors every time they change the systems preferences and user preferences and also the machine settings.
Is there any solutions that i can lock the FCP preferences so that editors can't change. Even i am looking the solutions that if i will lock the machines settings that will also help me.
Please help me guys.

If you give each editor their own user account in Mac OS X. They will have their own set of FCP preferences. The main set of prefs on the Admin account will remain untouched.
MultiUserPro might also offer a solution -although I haven't actually tried it myself:
http://www.apple.com/downloads/macosx/finalcutstudio/multiuserpro.html

Old FCP settings vs. new Super 8 project possibly not optimal??

hi folks! I've got a project that I cut that originated on Super 8 film, and I'm wondering if I've got FCP on the optimal settings for exporting it to quicktime so I can make a DVD. The footage looks pretty good but the Boris titles are fairly pixelated though the only Motion I use is setting opacity at 75%, so I'm wondering if the settings from my last project weren't best for this one. -- Should I be sending the movie to Quicktime at a different setting than below? And further, have the current settings already degraded the picture so I should re-import the raw footage?
Here's my current rundown as I know it -- if you can bear with me (my technology chops are not great)
The film footage was telecine'd to a 10 bit uncompressed quicktime movie.
10 bit 4:2:2 timecode
720x486 (not 480)
I "imported" the footage to FCP by dragging it over from my harddrive.
When I select "settings" from the sequence that my film currently lives in, it says:
compressor is DV/DVCPRO-NTSC.
Scan mode is "interlaced"
Also, frame size is:
720x480 (not 486)
aspect ratio NTSC-DV 3:2
pixel aspect ratio: NTSC - CCIR 601 / DV (720x480)
Thanks very much!!
RM

Well, I doubt you have the drive speed to play back uncompressed. I'm guessing you rendered every clip you put into the DV timeline, and that was how FCP was able to play back...it played the DV render files.
Make a sequence with a ProRes NTSC setting...you'll find that in the AUDIO VIDEO settings under the SEQUENCE PRESET drop down menu. Make a new sequence after you choose it, and then copy and paste the clips into that. Then you will have to highlight them all, and then remove the attributes put on the clips when you put them into a DV timeline, so the EDIT menu, REMOVE ATTRIBUTES...distort perhaps? Basic motion maybe? not sure how the clips were affected.
Shane

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At this point, you should probably delete the account and start all over again paying careful attention to upper and lower case letters in your password. Just double check all of the settings when you renter the account.
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When capturing VHS tapes into Final Cut Express, I always keep my Canopus ADVC110 at the default settings, including locked audio.
I don't understand why Final Cut Express' export as DV Stream includes a little box to check or uncheck, for locked or unlocked audio. The FCE default is unchecked (unlocked), and I've been keeping it that way during export.
What does this do to the DV file?

Ok, I understand. Me too. I archive photos, video & audio - TIFF for stills, AIFF for audio, but for video I wouldn't pick DVStream. It's not really like TIFF or AIFF. DVStream is the format recorded on miniDV tapes and at this point is reaching technological obsolescence.
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FCP X Locks up "restoring windows layout"

I've only had this lovely package for 6 days and now it locks up "retoring windows layout" , yes indeed, it is looking more like Windows,can't wait for it to show up on my credit card in a couple of weeks.

Just delete the Layouts folder and also this file
com.apple.FinalCut.plist
it is located here Computer/HD/Users/User_name/Library/Preferences
My problem started after installing new AU audio plugins. The problem this is a temporary fix as will you need to repeat this procedure everytime you start FCP until you find the source of the problem and deal with it. Let me know.

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Andrew

Thanks Jerry, that helped alot. Read my latest post please:
...Pro Res 422 for a 4 minute project using FCP 6.0.6. It's a Mac Pro 2x3Ghz Quad with GB 800 Mhz. The project is almost done but it is freezing up during playback. Plays for 20 second then playhead freezes then jumps ahead. I've copied timeline sequence 2 times and created new sequences and that does not help. If anyone has suggestions I'm all ears, thanks.
Andrew

TS4036 iPhone 5 Settings Locked Up On First iCloud Sign In, How To Fix

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This is not during a reset or back up, I find lots of issues with the phone locking up during resets, but no info on never making it to iCloud, and hanging in this screen.

If you haven't already done so, try resetting your phone by holding the power and home buttons at the same time until you see the Apple logo, then release.

Multibridge Extreme (Blackmagicdecklink, component monitor and FCP settings

Final Cut 5.1.2
Mac OX X Dual Core Intel Xeon
3 Ghz
QT 7.1.3
Hello: Almost everytime I swicth back and forth between FCP output settings, FCP loses sync to my component monitor. Sometime, I have to restart my system 3 or 4 times to get it to work again. Other than purchasing an LCD monitor, any other tips. It also jumps abruptly when I go to my desktop. Any help would be greatly appreciated.
Thanks
Dual 1Ghz Power PC G4 Mac OS X (10.4.4)

Make sure you have both intel firmware updates off of apple. Also please make sure that you have the latest Bmagic too http://www.blackmagic-design.com/downloads/software/MultibridgeMacintosh5.8.zip
I had TONS of crashes on my macpro prior to the firmware updates, afterwards rock solid performance. I still get the jumpiness between FCP and the desktop etc but that is to be expected.

Remove FCP Settings & HowTo?

Hello Folks,
First off let me warn you that I am not that good at any of this (except maybe audio) and have never used anything like color. I have messed around with PS CS3 and the FCP color wheels.
Anyway, I remember doing some corrections in FCP for a project shot in my brothers church. I don't not see the settings in Filters when loading the timeline into the Viewer. Any ideas on how I can remove the color corrections without otherwise altering the timeline?
Secondly, is there a doc or book or whatever that will show me how to match the color from one set of clips to another set of clips? For the shoot I used a Canon Xl1 and a Sony TRV280. The Canon tends to shoot a little warmish and the Sony is a little coldish. Most of the footage used in the edit is from the Sony. I want to warm up the Sony footage in Color a bit and then have the Canon footage match that.
Y'all be cool,
Robert

Robert Ober wrote:
Michael Trauffer wrote:
Using the "Still Store" room is extremely helpful when matching clips. I'm sure that the Ripple Training DVDs cover that room.
Ok, I may need to spend the 100.
I had thought for sure I had read in one of Alexis Van Hurkman's books he covered camera matching. I decided to call him and ask (he's just a few blocks from me). Answer, no - nothing he's written covers camera matching and we couldn't come up with a resource that either of us definitively knows covers camera matching.
Much has been written on scene-to-scene matching, which is a similar concept. But probably not camera matching.
Here's a synopsis on Alexis' take on effective camera matching:
• Find a moment in your scene - anywhere in your scene - where all cameras are pointed/framing the same thing. Ideally, this moment will have a nice tonal range (ie, on a histogram the values are nicely distributed from darks to whites) and an obvious black point and (non-light-emitting/non-reflection) white point.
• Once that moment is found, it's a matter of getting matching blacks / whites / mids by working your contrast / hue controls.
• Once they match, you then have the base correction for both cameras.
• The dirty secret: When using 2 or more cameras of different makes and models, usually one produces superior images than the other. The dirty secret is that you'll have to usually grunge up the good camera to get an acceptable match between the cameras.
In addition to Alexis' comments I'll add: I like to start with the best looking shot and make it look the way I want. Then I save that to the still store and use the still store to help me dial in the other camera(s). I get them as close as possible and then, if necessary, re-work the original camera to finish off the job.
HTH
- pi
Message was edited by: Patrick Inhofer

FCP settings lock

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