FCP to PP questions: part 3

7) In FCP Shift+ALT allows me to drag a duplication of a clip onto another track, giving me two clips of the same content.
Did this get added to PP6? If so, anyone know the keyboard shortcut. If not, feature request?
8) When I open a bin and have them clips set to thumbnail, why are the clips in reverse order and how do i swap it to alphabetical order? In list mode they are in alphabetical order.
Sorry this is a real dumb question but i can't seem to see what to click to swap the order of the clips in thumbnails.
9) In FCP I have f5 set to lock all audio and f6 set to lock all video. This means if i only want the audio or the video off a clip it is easy to click the other key shortcut and close off what I don't want.
I can't seem to find a lock all audio and lock all video shortcut. Are they there and if so where?

8) Icon mode, as Jim said, is a manual sort mode - the idea being it can be used for storyboarding, so you can sort the clips in rough presentation order, select them & automate to timeline (or drag to the new sequence button to create a new one & it'll auto fill the new sequence with the clips in the order you selected). Having an auto sort in Icon mode is a feature request that I've seen several times in the past few week, so we're definitely aware, but it's always good to add your voice via our feature request page, as we pay attention to the relative popularity of the requests that come through.
9) I wasn't quite following the context here. Jim's talking about if a linked A/V clip is already on the timeline, if you alt-click the video or the audio portion, only that portion will be selected. Then (letting go of alt), you can drag just that selected video or audio segment if you need to deliberately slip them out of sync (and you'll get out of sync indicators showing up to tell you how much of a slip you're introducing).
There's other locks as well - you can lock individual tracks, so if you lock an audio track, you can select a group of linked video clips and have everything slip relative to the locked audio track if that's what you're looking for.
If you're talking about inserting from the source window into a sequence, then you have a few options as well: it sounds like you've already noticed the video only/audio only icons for dragging, that's one way; you can also use track targetting in combination with the insert/overlay shortcuts, so I could for instance disable all audio tracks in the track targetting, and my insert would then only bring over the video. I'm probably forgetting other methods - multiple ways to skin cats here.
Cheers

Similar Messages

FCP to PP questions: part 5

13) In FCP if you right click on a clip it shows you, amongst other info, the duration of the clip in the timeline. I can't seem to find that same information in PP. Does it exist in an easily accessible way and if so where?
14) In FCP when you have a cut in a clip you can click on the cut and hit delete and it rejoins the two parts. Can't seem to do this is PP. Is it possible and if so what am I doing wrong?
15) In the effects window i have created a favourites folder. 2 questions here. Firstly when I drag an effect into the favourites folder if the favourites folder is off the bottom of the window it won't auto scroll down to it so I have to enlarge the bottom of the window in order to have the favourites folder showing so i can drag and drop into it... so am i missing something or is this the way you have to do it
b) I can't seem to move my sub-folders around in the favourites folder. Or in fact the filters. they just sit where they want. Can I move these sub-folders around?

cheers
i have had a lot of responses on here and the other forum (from Denis actually) so i'm going to digest it all and make notes on what I can do until it becomes muscle memory and compile my features wish list then hop on over and post them and cross my fingers
i do have to say though that my brief time with PP CS6 has been far more palatable and far less frustrating than my brief time with 5.5 and I do appreciate everyone's input and solutions so far. At it's core PP does seem blinding and I am old fashioned and want tracks and I want naming conventions to remain the same and the things that seem to be missing are pretty much the little things that I have gotten used to from FCP rather than core issues so hopefully they'll come over time and in 6 months I can fondly kiss FCP7 goodbye.
Cheers all and cheers Adobe for not being riddled with hubris.

FCP to PP questions: part 2

4) tttt in FCP lets me select everything behind where I click. is this available in PP? All I can find is clicking t gives me the option to select everything on a specific track but not everything. I like selecting everything if i want to move it all along the timeline to give me some space to do stuff in.
5) In FCP Backspace deletes a highlighted clip but leaves the timeline as it is. Delete deletes a highlighted clip and closes the gap left by the removal of the clip.
In PP I can only use backspace which deletes the clip and leaves a gap. Is there a way to do the FCP version of Delete so I delete a clip and the gap left automatically goes? Or is this another feature request?
6) In FCP I can place little icons in different windows of the app, eg: new sequence, freeze frame, +3db, Render, etc. which one clicks on and they work.
Do these icons exist in PP?

jules______ wrote:
5) In FCP Backspace deletes a highlighted clip but leaves the timeline as it is. Delete deletes a highlighted clip and closes the gap left by the removal of the clip.
In PP I can only use backspace which deletes the clip and leaves a gap. Is there a way to do the FCP version of Delete so I delete a clip and the gap left automatically goes? Or is this another feature request?
See the part 1 thread...basically, DEL (or BACKSPACE) removes the selected clip(s) whereas SHIFT+DEL (or SHIFT+BACKSPACE...??) will ripple delete, removing the clips and leaving no gap.
6) In FCP I can place little icons in different windows of the app, eg: new sequence, freeze frame, +3db, Render, etc. which one clicks on and they work.
Do these icons exist in PP?
I'm not really sure what you're asking about here, but it doesn't sound like anything you'd do in Premier Pro. However, there are shortcuts you can use for that stuff (new sequence is CTRL+N, render previews is ENTER for red timeline areas or SHIFT+ENTER to force render yellow previews). Read up in the help file a bit to see the shortcut default assignments, and then peruse the keyboard shortcut editor to see which functions can be assigned a shortcut.

FCP to PP questions: part 1

A series of questions that have arrisen from exploring PP.
1) When I have a clip in the timeline, an audio file of VO for example, and I hit space to play it and am then listening to it, when i jump forwards in the timeline to listen to another bit PP stops playing whereas FCP would keep playing, which is better because it saves me hitting the space key each time i jump to a new point.
Is there a setting i need to change something to enable PP to do this? Or do I need to request it as a future feature?
2) My keyboard layout in in FCP7 is slightly tweaked so this may not be the same for everyone, but in FCP7 I have CTRL G as close gap. I can jump to a gap in my timeline and hit CTRL+G and the next clip along butts up next to the previous clip.
This doesn't seem to work in PP and I can't find a keyboard shortcut for close gap. Is there one? Or is this feature called something else? Or do I have to submit a feature request?
At the moment it seems I need to delete a clip, click the gap, then delete the gap. 3 moves for one before.
3) In my key layout I have the numbers 7 to 0 assigned to +3db, +1db, -1db, -3db and highlight a piece of audio and adjust with the keystroke. Can't seem to find the keyboard shortcuts for these in PP. Am I being thick? Can I assign these settings to keys in PP? Or is this another feature request?

Hi Kevin,
thanks for that. Just tested it out. So the Ripple Trim Next Edit to Playhead does work but not quite in the same simplistic way.
If I use the up arrow to go to the previous edit then it won't work. I have to nudge forward one frame and then do it and then, of course, I have a one frame gap.
Additionally, with FCP version i can just dump the playhead anywhere in a gap and it will close the gap.
So yes, this is useful in some of my uses, such as reducing the gap quickly when i've been throwing things on the timeline, but in terms of simply and fully closing the gap, it doesn't.
But, I shall add it to my features wish list and post them all in due course.
Thanks for the pointers though, it is good to know that feature is there and for now I shall test it out more in my normal flow.

FCP Backup Project Questions

Hi Everyone,
Say I had several questions and was hoping another FCP user could answer them for me.
I recently had a hard drive fail that housed all of the captured video for a project that was complete, but had not yet been exported out. A real bummer.
I did not worry about it too much since it was only the captured video and audio and thought all I needed to do was just go in, select the offline files and recapture the footage. Boy was I wrong.
This had been my backup philosophy thus far, backup my project files, graphics, music, etc etc and dump all of the captured video and audio on the project, since I had the original tapes. If I needed to go back into the project I could just recapture. I developed this from other users suggestions from here.
Well on this project, when the hard drive crashed, since I had all the same files I would normally backup I assumed it would be the same deal. I have never had to go back to a backup project so I had not tested this before.
When I attempt to batch capture the original footage, some captures fine, while others come up prompting me to change a file name because one already exists and even on stuff that will recapture, it comes up saying it cannot be reconnected because the capture footage does not match. Sigh. I am puzzled by these messages since, the settings for the recapture are the same, and the file cannot exist since ALL the footage is gone.
So what I am faced with now is confusion over what is a good, solid way to backup ones projects. Am I doing something wrong when setting projects up that cause them to be such a headache to recover? Many of the projects I do are using a 24p Adavanced setting. Sometimes I remove the advanced pulldown when capturing, sometimes after I have captured. My setups, for the most part, are normally the same.
Can I start a dialogue with some fellow editors out there who have some experience here? I am real curious to know what works for you and any thoughts on what could be causing my current woes.
Thanks so much!

Ok, well here is where I am at:
I performed the XML export as suggested, but ran into the same issues. Let me give a more detailed description of the issues.
After the hard drive crashed and I lost all my captured video and audio, I replaced the drive and named it the same as the previous one.
So when I went back into my project, the normal message pops up that items are offline, etc. I hit continue past this and tried to batch capture the footage again. On several clips FCP (version 5.0.4) would come back reporting that there was a Duplicate Item Name and try to force me to rename it or skip (Why does it not give an option to overwrite??). Now in the bin there is only 1 clip with the name, so I am assuming it is picking up on something else. On other clips, it does not prompt this, but when I have finished recapturing (mind you I have left the box checked to use the logged settings) it comes back to report that the clip cannot be reconnected because the beginning or end times are different, etc, etc.
So per the great suggestions on here I exported (with the Source showing in browser) the whole thing to XML and then imported it into a new project. Same problems as before. So I looked through the Source in the browser and noticed some stated they were offline, while others stated they were on the old crashed drive. So I set them all to be offline and told it to delete the files from the hard drive.
Again I have tried to recapture to no avail.
I am now attempting to blow out the hard drive and wipe it clean, then rename it to see if I can get FCP to recapture the darn footage.
Does anyone else have any suggestions??
And furthermore, what is the best method to backing up a project?? Should I go through and take all the clips offline in FCP, deleting the footage and then as I have been doing, save the project file, graphics, etc, etc. Basically, how do I get FCP to recapture stuff if I ever have such a problem or need to go back into a backed up project again??
Thanks ALL!

FCP to HDCAM Question!

Hello,
I'm cutting a 4 min short film in FCP 6.0.5. We've recently been accepted to a fest that wants HDCAM. We shot on the XDCamEX1 1080p24 (35mb/s) and set our sequence settings to match this.
I have two questions:
1. I'm doing the mix myself in FCP, with some sweetening in SoundtrackPro. It is a fairly simple mix, but how should I monitor the overall sound? The loudest point in the film hits about -6db on FCP's audio meters. Is that correct? Also, we're projecting in a large theater, so I've been mixing with high quality headphones in order to hear any hiccups within our production audio. It sounds decent. Do you think we will be okay or theater speakers projecting a stereo mix pick up more discrepancies?
2. I'm color correcting the film myself. Considering our master will be on HDCAM, should I use my 720p LCD TV as an external monitor or my 23" 1920x1080 apple cinema display? Those are the only two options I have. What pitfalls should I look out for?
Thanks for any help you can give.

Well, if it were me and these were my options, I would probably use the cinema display to color correct because at least I'd be able to get a pixel for pixel simulation of the picture since you're editing 1080p.
However, when you output, I'd rent an HD QC monitor in addition to the HDCam deck to double check my work and ensure a good-looking master. You won't be able to control the environment that it's being projected in, so your best bet is to produce a good-looking tape.
Andy
PS: As for the audio, find out if the festival has tech specs on audio levels. Also, it's ok to mix with headphones on, but you'll really need to hear the film on speakers. Preferably a good set, and an old, beat up set. That will give you perspective on how it's likely to sound in the theater.

FCP user preference question

I got a project from overseas, gotta fly there to edit a video. they provide my basic facilities.
I used to edit on my own machine....because the short cuts and whole the favorite effects and transitions that I saved in my FCP.
So my question is, since I gonna shift my FCP user preference files to another FCP, do they affect other editor's preferences. I am pretty sure on the FCP, there are lots of preference settings that other editors made.
in particular, let's say my shiftcontrol2 is 3 ways color correction tool, but on the computer that I am going to use might not be the color 3 ways, it might be some other functions...
can i just save their preference in a folder, and put my preference in , and after i am done, and put back their preference..?
thanks for your advice and suggestion in advance,
your help is highly appreciated
Hiro

Hiro
You can use FCP Rescue to backup FCP preferences file and restore it later:
http://fcprescue.andersholck.com/
Or you can do it manually:
http://docs.info.apple.com/article.html?artnum=93385
Hope that helps !
Alberto

FCP Sound Syncing Question

Hey Everyone,
I have an audio syncing question for you. Any help would be greatly appreciated!
I am cutting in FCP. I logged and captured my footage and with timecode breaks, etc. the tape was cut up, and I was left with eight files, let's call them Footage1-Footage8. I have completed my cut of the piece using the in-camera audio that was linked to the video on the DV tape that I imported. Our sound guy in the field used a DAT recorder to record the production audio and apparently captured the timecode to the audio files, so that it matches the video (i.e. the DAT recorder and our cameras - DVX-100s had synced timecode during the shoot). The DVD he gave me has 20 audio files as .wav, let's call them Audio1-Audio20. My question is, now that I have finished my cut, I would like to replace the current audio tracks with the production audio. How can I sync the audio with the video and replace it in what I've cut. Or perhaps I can't, in which case - how can I sync them up and THEN cut, but I'd really rather have to not do that, lol!
Thanks for your advice!

Sorry about the long winded post, though.
I guess my real question, summarized is - is there a way to sync separately recorded production audio (that has timecode) with the footage that I shot (that has the same timecode as the audio, but also has in camera audio that accompanies the video track - I would imagine I can just "cut" the extra audio tracks, however).
I'm at my bay trying to figure this out, and I've got nothing, and the people I work for don't want to spring for that bwf2xml program you were talking about What's the emote for pulling one's hair out?

FCP 5 & Motion2 question

Hi All, hope this question isn't a silly one.
When I go to the send to (motion) option in FCP the media goes off-line, once I am in Motion I get asked the question to reconnect, however the name of the file it asks for is not the exact same one I am working on, for example if I am working on Jack & Jills video it will ask me to reconnect to Jack. sorry for sounding silly but it is the best way for me to explain it. Any help would be great.

Hi Patrick
I will try dropping any non alphanumeric characters today, I feel confident that this could be the answer to my problem.
Thanks Alot, and I will get back to you with the result.

FCP and Rosetta questions.....

I should start off by saying that these are geared for the new macs with the intel chips.
I have been reading up on Rosetta and it seems like the programs that were made for the PowerPC chip will use Rosetta to translate and programs that will be made under the Universal Application moniker will also use Rosetta to translate.
My question is were does this leave FCP? It's going to be one of those "Universal Application" in a few weeks, but it's still gonna need Rosetta to run, which I think might make FCP very unstable. Does Apple have plans to make an Intel-native version of FCP? How will this switch to intel chips affect Final Cut in the future? Does anyone have any info on this? Thanks
iBook G4 14" Mac OS X (10.3.9)

There's also this:
http://www.apple.com/rosetta/
The Universal truth<
Pro applications from Apple — including Final Cut Pro, Motion, Soundtrack Pro, DVD Studio Pro, Aperture, Logic Pro, Logic Express, Shake and Final Cut Express — are not supported by Rosetta. Apple Applications</div>
If you already own Final Cut Studio 1.0, Aperture, or Logic Pro 7.1, these applications are not supported to run on Intel-based Macs with Rosetta, but a Universal version will be available for $49. Logic Express will be $29.<
If you want to run your pro apps on the new machines, you will be buying (that's right BUYING) new software. There's a great bruhaha over on the Aperture forum about the language in the license agreement, written by Apple, that seems to make this charge for a new version of existing software a blatant violation of the terms of Apple's side of the license. but it doesn't take much to get those Aperture knuckleheads really excited.
bogiesan

Basic FCP Sequence Settings question for 1080 footage w/ 7D

OK. So maybe it's the fact I've been working for 18 hours straight and my mind is partially play-dough, but I'm thoroughly confused right now by what I think may be the dumbest question ever.
Anyway... here's my problem and my workflow.
PROBLEM:
Stupid black box above and below my 1080 footage after I export to QT out of FCP (this box never existed in my 720 footage)
WORKFLOW:
- I have 1080/30p footage from a Canon 7D and Rebel T2i
- Converted to Prores 422 in MPEG Streamclip (I can never keep the file system intact to use the FCP EOS plugin. I need to work on that)
- Imported into FCP7
1080 SEQUENCE SETTINGS:
Frame size: 1920x1080 HDTV 1080 (16:9)
Pixel Aspect Ratio: Square
Field Dominance: None
Editing Timebase: 29.97
Compressor: HDV1080p30 (Also tried ProRes)
Quality: 100 percent
After I export to Quicktime with current settings, the video plays back with a small black bar above and below the footage. Weird. This seems kind of normal to me, except these bars never existed when I edited in 720. Not that it looks bad, I'm just confused why the bars are there when they weren't there in 720.
720 SEQUENCE SETTINGS:
Frame size: 1280x720 HDTV 720p (16:9)
Pixel Aspect Ratio: Square
Field Dominance: None
Editing Timebase: 29.97
Compressor: HDV 720p30
Quality: 100 percent
When I export this, no black bars above and below.
So why -- If my settings are basically the same except for the 1080/720 substitution -- do I get the above/below black boxes for 1080 and I don't get them for 720?
I don't think I want the box. Don't like the box. The box is bad. I think.
Thanks.

I'll send my thanks over here, too, Shane. Posting on multiple sites because project is due today.
Hopefully this will be a lesson learned and my sequence settings are point-on from here on out.
If anyone else is reading this and has a similar problem, though, Shane came up with the solution:
"Highlight all the footage you pasted...then right-click and choose REMOVE ATTRIBUTES. Then check BASIC MOTION." After checking basic motion, you also have to check distort.
And if the quicktime inspector doesn't read out 1920x1080, don't worry about it and just trust FCP.
Thanks for the input, all.

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 X, a question about camera settings

I live in the middle of the Pacific and need some advice as there is no one here to help me answer these kinds of questions...
My first 3 big projects were done in SD using a SONY PD 170 and FCE4.
I just bought the Panasonic HPX 170 with a 64 GB P2 card. I use a new iMac i7 (OSX 10.7.2) with all the bells and whistles and have now gone to the new FCP X for software. I know the following is more of a camera question more than a software question, but I thought someone in this forum might be able to help me.
We are about to shoot another full length feature film (roughly 90 minutes). I have read through the manual and a book about the camera but I'm just not getting enough information to make the ultimate decision as to what camera settings I should use to shoot the film.
In the end I expect the film to show at a theater here on the islands for a few weeks, and then a few film festivals and then ultimately, hopefully, sell DVDs to people who do not have sophisticated plasma TV/DVD setups, so I have to consider this also when shooting the film.
So.... I would really, really, really appreciate some opinions as to how I should go about this, i.e., 24p? 30p? 720? 1080i? If it were you, what settings on the camera would you use to shoot this film???
Thanks so much in advance.

1080i/60 is your best choice.
(This is assuming there's not a great deal of fast action, or slow motion in the movie. If there is, you may want to consider 720p 60).
You really need to research frame rates and the difference between interlaced and progressive footage before you commit yourself. To be honest, the difference between 720 and 1080 is so tiny, I doubt many people could tell it apart if they didn't already know which was which.
Andy

Resolution question part 2

I built a project in motion that is 1280 x 720 (16:9) to fit an lcd screen, its all created using psd's, and has no actual video footage..
in the project properties i kept the pixel aspect ration square, ( should I switch it to 1280x720 hd? )
and when i exported a qt out of motion I got a prefect result using pro-res 4444 with current settings
I assembled all my motion projects into fcp 7 and they look great in the viewer, but they get 4:3'd in the canvas, and export looking squished and letter boxed, even with 1280 x720 output settings
( fcp's pro-res 4444 only supports 1920x1080, so I used pro res 422 for my sequences setting because it had a 1280x720 setting)
so my question is what settings are best to get fcp to show my project in the canvas and to output my motion project with no letteboxing or distortion.. at 1280x720
-Thanks

please disregard the previous question,...
after messing around with the sequence settings I was able to get a decent result, I still had some minimal letterboxing thought, which makes no sense to me considering all the size settings are the same, but im sure with more experimenting I will. make it work
but I would like to know if any of you motion experts have some hard fast setting you like to stick to for standard 16:9 out put
thanks-

A few FCP to Pr questions

I'm wondering if there's a tutorial somewhere that highlights the differences between FCP and Pr, and has tips on quickly getting up to speed.
Also, I'm perplexed about the red bar in the timeline. I imported a couple of FCP sequences via XML, and my video won't play. I can see it while parked. One of the factors may be that I have 1080 ProRes footage in a SD NTSC widescreen comp. FCP will play this footage, while dropping frames. But, Pr seems to not want to play it at all.
I'm also a bit confused by the Sequence Settings, and the separate Preview Settings options. I'm presuming these are similar to the Sequence Settings > Codec in FCP, but changing them up doesn't seem to have much effect on the play-ability of my footage.
I have a Kona LHi on my system, with the latest 9.0.1 CP and Adobe drivers installed. When I bring a 1080 sequence in with 1080 footage, it plays wonderfully.
But, I guess when mixing up frame and sequence sizes, I'll have to render a lot, yes? Is that a factor of not having one of the super duper new graphics cards for the Mercury system?

I don't see any Adobe presets that are 720 x 486. All the NTSC SDs, including DVCPro50 are 720 x 480. The only 720 x 486 is AJA > SD > Uncompressed. And that's the only one that will let me use the Kona.
Jim,
Not a problem: select one of the SD presets (doesn't matter which, but one close to your needs), and then click the Settings tab. Change the editing mode to "Custom," and then you can dial in the exact settings you need. Save it as a preset, and you can come back to it at any time to create a new fresh sequence. Here's what that looks like:
"Custom" Editing Mode is your friend Obviously, you can tweak any parameter you need; you can also specific the default number and kind of tracks you need on the Tracks tab.
But, I just tried what you suggested - copying my Sequence and dropping it into an Adobe DV Widescreen Sequence, and it is now playing all frames in the Pr Sequence Panel.
I guess that will get me through the offlines, and I can change my Comp to 486 in AE when I'm finished. Or, I can copy my 480 Sequence, paste it into an AJA 486, and render, if I want to see it through the Kona. That's a little Byzantine, but I guess it'll work.
As I suspected. There might be some settings as far as the AJA is concerned to tweak performance, but I don't know anything about that.
Here's a bit of a ghetto workaround to quickly check output: after you create your Adobe-native sequence, create a new AJA sequence and drop the Adobe sequence into it (nesting, as it's known). You can work in the Adobe sequence, and then toggle over to the AJA sequence to check output. Obviously, you're still not going to get great performance, but for quick checking it'll probably be a lot faster than copying and pasting every time. In the meantime, it might be worthwhile checking with AJA if they have any optimization suggestions.
I'm looking at an IO Express, myself, so I'm curious about how this all rolls out.

FCP to PP questions: part 3

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