Mastering Format

I'm trying to bounce my CD project in a format acceptable for Discmakers:
*+CD-R master (16-bit/ 44.1kHz CDA format only) +
*+• PMCD master (pre-mastered CD)+*
I'm not sure what this correlates to in Logic or Waveburner. Will PCM CAF format work? They will not accept wav, aif, SoundDesigner II (SD2), and mp3.

noeqplease wrote:
noeqplease wrote:
pelliott wrote:
Not sure why we're wankers for this since this is how it is for all replicators. It's a result of the red book Cd standard that we have no control over. But to answer the OP, Waveburner burn audio cd's which is the 16 bit 44.1 kHz red book standard that is required to replicate. The only other possible option is to do a ddp file set but I don't believe waveburner is set up to do that. If you need to talk further about it you can email me @ [email protected] or call 800-468-9353 and we'll get you a disc that works for us. Thanks
Paul Elliott
Head Mastering Engineer
Disc Makers
Sorry Paul, I'm the insulter here.
Maybe you could explain to your clients what :
*CD-R master (16-bit/ 44.1kHz CDA format only)
• PMCD master (pre-mastered CD)
Actually mean, since, they actually mean almost the same thing, and audio CD.
Apparently, the OP did not know you meant and audio compact disk, in both cases.
Maybe he got confused because you are referring to one type of audio cd, with two different technical names.
"CDA" = audio compact disk, am I correct? this one would not necessarily contain any metadata, such as text, nor ISRC codes.
And
"PMCD" = audio compact disk, correct? or are you saying it is "Pre- Mastered Compact Disk", which is not very common nomenclature, as far as laymen are concerned. Now this one, does it mean to your company, the RedBook CD format, including all applicable Metadata? Or what exactly?
Thanks, and I apologise for my earlier bad tone. I was just surprised to find this kind of question on this forum.
Ok, no response from our man Paul.
I insult their company, and get a response in one hour.
I apologise, and then ask the man to explain their obscure delivery requirements, and do not get an answer for...let's see...almost seven hours....
Way to go, Paul. Maybe tomorrow we'll get an answer as to their policy... or maybe my post will get deleted...
Cheers
And now it's been 4 days since I asked this kind young man to explain their delivery policies. Not a peep...
Now I remember why I do not use them for duplication.
Cheers

Similar Messages

In an HDV sequence can I "scrub" the timeline and record it via FW to tape?

In an HDV sequence can I "scrub" the timeline and record it via FW to tape?
In standard definition I used to be able to do this via Firewire to my mini-dv deck. But now I am working with the Canon Vixia30, an HDV camera. I'd like to be able to scrub the time line back and forth at varying speeds and record this scrubbing live (rather than doing it with Motion software.) Is there anyway to "record" this action, either onto tape or digitally, while maintaining the HD resolution?
If possible I'd like to figure out how to do this without buying extra equipment. I understand I could get a Matrox MO2 Mini box ($450.) to output the live HD signal, but then how to record the HD signal from the Matrox box? (my camera only has HDMI out, not in.)
Thank you for your input.

And if you capture your footage as ProRes (as I see discussed in another thread), you cannot output to HDV via firewire. It would be pointless. To go from a lossy format to ProRes to edit...then convert back to HDV. Typically people who shoot HDv never master back to HDV, as it isn't a mastering format.
And yes, the MAX is totally worth it. Compression times faster than RT (meaning less time to compress than the timeline is long...I did 90 min timeline in 75 min yesterday). Worth it? Depends how much your time is worth. TO me, I'd like to have the compression done in 75 minutes opposed to 3-4 hours.
Shane

Print to Video problem

Hi. I'm trying to back up a large amount of raw footage by using the File/Print To Video option to record onto MiniDV tapes. I'm using a MacBook Pro, FCP 6.0.6 and a Sony HDV Handicam as the recording deck. When I've tried to Print to Video, the footage displays on my monitor, but not in the display LCD panel of the video camera. After rewind and playback, nothing has been recorded. I went through the forum to read up on similar problems and think the issue might be that I can't get FCP to give me any Video Playback options under File/Audio/Video Settings/Summary/Video Playback: I'm defaulting to "None" and only "Digital Cinema Desktop Preview" options are available. I've tried rebooting several times, switching between a Sony iLink S400 cable and a generic Firewire, but no luck.
I don't know if it matters, but the original footage is stored on an external drive. It wasn't shot on this handicam. When I logged and transfered a small clip of this footage into a new test project, I allow FCP to match my sequence settings to the clip settings, resulting in a Sequence/Sequence Settings Panel with the following:
Frame Size: 960x720 HD (960x720) (16:9)
Pixel Aspect Ratio: HD (960x720)
Field Dominance: None
Editinng Timebase: 23.98
QuickTime Video Settings
Compressor: DVDPRO HD 720p60
Audio Settings
Rate: 48kHz
Depth: 16-bit
Config: Channel Grouped
Thanks for any help you can give me. I need a reliable way to archive a ton of footage like this, so any alternative ideas would also be appreciated.
Many thanks,
Rick

I'm trying to back up a large amount of raw footage by using the File/Print To Video option to record onto MiniDV tapes. I'm using a MacBook Pro, FCP 6.0.6 and a Sony HDV Handicam as the recording deck.
OK...now keep that in mind. HDV camera. Print to video is the solution...BUT...
Frame Size: 960x720 HD (960x720) (16:9)
Pixel Aspect Ratio: HD (960x720)
Field Dominance: None
Editinng Timebase: 23.98
QuickTime Video Settings
Compressor: DVDPRO HD 720p60
DVCPRO HD! That is NOT HDV. You cannot PRINT TO VIDEO via firewire a format that is NOT HDV. Not possible. Not unless you convert it TO HDV. But then you are taking a nice 100mbps, intra-frame (individual frame) 720p 23.98 footage and convert it to 1080i 29.97 Log GOP format. It will not be close to what your original footage looks like.
If you insist on archiving to HDV, then you need an HD Capture card (one that cross converts 720p to 1080i, BTW), and high end HDV deck with SDI imputs. But then you are changing HD formats.
Nope...wanna keep the same format? Then rent a DVCPRO HD deck. Know though, that when you output you won't be running at 23.98 anymore...it will be converted to 720p 59.94, as that is the format that the tape records. And you can't remove the pulldown, as outputting to tape from FCP doesn't include any 23.98 pulldown flags.
This is P2, right? Keep and archive the ORIGINAL P2 card dumps to bare SATA drives, or firewire drives. Or invest in an LTO tape archiving.
HDV is not an archiving/mastering format. It is acquisition only.
Shane

I need to edit text in a jpeg file. How do I do that?

I need to edit text in a jpeg file. How do I do that?

Unfortunately you can't. A JPEG is a flat raster (pixel-based) image file which has no awareness of "text" inside it. You could try to erase the text and graphic under it and then recreate the text, but it's best to do so using a mastering format such as PSD (Photoshop) or PXM (Pixelmator), so that you can export as JPEG but keep your layered master for later editing.
Matt

Mac can't read a Windows CD...

I downloaded a couple of Mac OS X updates on my Vista PC, burned them onto a CD (type CD-R) and took them to the Mac. After spinning up the CD, the following msg appears: "You have inserted a disk containing no volumes that Mac OS X can read. ......."
I used the "mastered" burn option - as that claims to have the best compatibiity with other systems.
What do I need to do to ensure the Mac can read the CD?

Because I chose the "Mastered" format, there is no option to close / finalise. Here is a relevant description from Windows Help:
"Mastered discs do not need to be closed; they are automatically compatible with other computers, so you will never see an option to close a session that you have made with the Mastered format."

Burned DVD won't play on DVD player

I have downloaded a 22 minute video that I would like to burn to a DVD to play in my DVD player. I have attempted on both DVD-R and DVD+R. They burn to the disc but will not play on the DVD player. The error message states that playback may not be available on this disk. I have used the windows support search to problem solve on my own but have had no success. I have ensured that I am selecting the CD/DVD player option to utilize the Mastered format. I have gone into my option and have no filters on. I have the video format on NTSC since I am from Pennsylvania/US. I have not tried to burn it on slow or medium speed because it does burn to the DVD without problem it just won't playback on the DVD player. What do you recommend as my next course of action for troubleshooting.
This question was solved.
View Solution.

I would suspect that the video is not DVD Mpeg2 compliant. Depending on the DVD player, some will play other formats, also. If there are no video authoring programs on the computer, try Windows Movie Maker (free) to see if the video needs too be converted to DVD Mpeg2 standards.
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Windows 7 - Files missing from network share after trying to burn and no data cached to be burned

I ran into an issue trying to burn some file from a network share using Windows 7 Home Professional. I was trying to burn some .jpg files from a mapped network share drive using explorer. Every time I would drag the files to be burned from
the share drive to the explorer screen to be burned, the files would disappear from the share. To make things worse the files would not show up in the screen to be burned. I was unable to locate any of the files on either of the systems when performing
a search after this took place. I verified that the steps that I was taking to burn the files were the same as outlined on the Microsoft site. No matter what I did to burn these files, they were deleted from the mapped network drive.
Below are the steps that I took that both resulted in the files being deleted as well as what I had to do to finally burn the disc.
Steps that resulted in files being deleted:
1. Insert blank CD into drive.
2. From prompt select burn using explorer (Mastered Format)
3. Enter title and select with CD/DVD, click Next.
4. Open a second explorer window, navigate to mapped network drive with files to be burned and snap next to explorer to be burned.
5. Drag and drop the files from the share drive to CD.
This where the train would fall off the tracks every time. I would receive a message that the file(s) no longer exist and if I wanted to continue. From here the files would be deleted from the share drive. The best part is that the files
would also NOT be locally stored to be burned.
Steps to burn share files WITHOUT delete:
Follow steps outlined above, but instead of just dragging and dropping the files as outlined in step 5 select the files from the network share location, right mouse select copy. Then right mouse select paste in the explorer window to be burned.
I have tested this many times and every time ended up with the same problem. At this point I am sure that there is a problem with the way that Windows 7 is performing the burn. The system that I was using to burn is Windows 7 Home Professional
with all the patches and updates loaded. The remote system is Windows XP Professional with all the patches and updates loaded.
Thanks in advance

Yes, the problem is still continuing. However, after looking into as much of it as I can, I can confirm something that r.p.b_ started stumbling on. The files are deleted IF AND ONLY IF a user is using the built-in Windows 7 disc burning utility AND is dragging
and dropping the files to the drive from a network share; this doesn't happen locally. If you watch what happens in the native folder, the files are literally scrubbed from the drive as they are processed and added to the image. However, if you Right Click
on the files and copy them, then Right Click->Paste onto the drive, they remain. (The keyboard shortcuts also worked.) Also, 3rd party disc burning utilities function they way the should. (In other words, they don't delete the files.)
My speculation is that there's a bug in the coding that sees the network share as a temporary buffer file while the image is being prepared. Then, as the files are processed in what ever way is needed, the "temporary buffer" is being deleted. The result:
lost files on a network share. But, this is just speculation.

Sony F900 Workflow

Hi There, I am editing a project shot on sony f900 24p. I wonder if someone could advise on the workflow of this camera.
I have
Mac OS X, processor 2x 2.8 GHz Quad-Core Intel Xoen.
Memory 10 GB 800 MHz DDR2 FB- DIMM
Stuart Disk macintosh HD
2 Tb hard drive and i'll be working with FCP 7
I have the facility to capture this using a black magic card at uncompressed avi. my question is what would i need to transcode it to to edit. Ideally i would want to transcode it to a mastering format so i dont have to conform it later (we are mastering on dvd 25fps). It seems to me that transcoding to Apple Pro res would be the better way and then laying that on a 25fps timebase. Does anyone have any better solutions or doubts as to this idea.
many thanks
Snus

You'll not be able to capture uncompressed without a fast,large array.
Capture to prores directly.
you say it's shot 24P. Is this true? not Psf?

Optical drive cannot read DVD-RW after burning?

All of a sudden my built-in optical drive (Matshita UJ-857) appears to have lost the ability to mount burned DVD-RWs. I'm using Sony 1-2x media which burn & verify successfully. Following the burn, the DVD-RWs show up on the Desktop and can be browsed in Finder. However, once ejected, the drive cannot mount them again - they spin up for around 30 seconds before being ejected.
Other media (DVD, DVD-R, DVD+R, CD, CD-R & CD-RW) work fine; DVD+RW requires 2~3 inserts before it mounts. I've done PRAM & PMU reset, same results. Is my drive failing?

I can view the same disk/photos on my old L300
There are any number of special so-called packet writing programs which create discs readable only by the same program. If you use the built-in DVD burning for Windows Vista (especially with Mastered format), that problem would not occur.
Burn a CD or DVD
So you should either reburn the DVDs using the Vista machine or copy the pictures to the new machine (probably over your network) and burn new DVDs from there.
When you post here, always tell us the full model designation of your computers. Which Satellite Pro L330? Which Satellite Pro C660? That way we can look up what your machines look like.
-Jerry

Render time has INCREASED!

I'm running FCP 6.0.4 on a Quad 3GHZ Mac Pro with 8GB of RAM. I am working with Sony XDCAM HD 1080i (35MBS, VBR) footage.
I edit a 28:30 local TV program and have produced over 20 episodes so far. Its a fairly simple format and most of the shows are relatively the same, so I had grown accustomed to consistent render times. The main element that needs rendering on every show is a small animated logo in the lower right frame. It is on-screen for 95% of the program. For the first 20 episodes, even with some select clips having multiple layers of graphics and color effects, to render the entire show, it would take 2-4 hours at the most. Again, these render times were consistent for the first 20 shows or so.
However, for the last few shows, I am experiencing extremely long render times for the same format I've been working with for over a year. It now takes 8-12 hours to render the entire show. I have four internal 750GB hard drives. I do not store any footage on the OS drive and I always make sure I have more than 30% free space on my source disk.
Would anyone have any idea why render times would have drastically increased?? Was there a recent
software update or something that may have caused this, either with Leopard or FCS?
Any suggestions would be appreciated.

Run, don't walk, to the Aja site and download a copy of their Kona System Test utility. It's PowerPC, which is a little annoying because it takes a long time to launch. But it's a great tool to test disk I/O performance. (Also, despite the name it is not in any way related to the various Kona I/O boards. I haven't received by LHe yet, and I've been using the System Test tool for ages to keep an eye on my framestore bandwidth.)
For comparison's sake, I get on the order of 160 MB/s reads and writes on my framestore. It's a very humble configuration, just two internal 750 GB SATA drives striped using Disk Utility. If you're getting less than that, something ain't right.
How exactly are you setting up your projects? Are your timelines using the XDCAM compressor, or are you using ProRes? If you're using an XDCAM timeline, do you have ProRes rendering turned on? Do you send your finished shows back out to XDCAM, or do you go out in some other format? I ask this part because it's possible — though since you've been doing these shows for a while you almost certainly already know this — that you don't actually need to stay in the XDCAM format at all, unless you're going back out to XDCAM media. If you're laying off to some other mastering format, or going out with a Quicktime master, you can skip rendering back to XDCAM entirely, which may save you hours and hours.

FC Express HD vs. FCP

What is the biggest difference between Express HD and FCP6?
The tutorial for Express looks like it has all of the same features as Pro--obviously I'm missing something?
I'm using a Sony HDR-FX7 so everything will be 1080i60 HD.

I'm shooting in HD 108060i, it's probably going to be 30-60 mins long....is FCE too light to try to manage a project like this?
Yes. Why? Because you cannot output to the proper tape format from FCE...it doesn't work with capture cards. HDV is not a mastering format, no network would accept it. And when you PRINT TO VIDEO, you cannot get proper tape setup...color bars at 58:30:00 to 59:30:00, black, then a slate, then black...then show starts at 1:00:00:00 on the dot. I'm not even sure FCE allows you to adjust the timecode of your sequence, because i don't use it.
"Geared towards a TV market..."
Does FCE have good color correction tools? Scopes? And did you know that 30 min is actually about 22 min of show time, and that 60 min is roughly 42-44 min of show time, because of commercials? Are you going to be able to take a network spec sheet and apply those specs to your project in FCE?
No. You need Final Cut Pro.
Shane

Best options for uncompressed HD master?

I've just finished my first feature-length project in HDV on FCP, and I have some questions about output. In the past I've always been editing SD DV under 60 mins, so master output was always easy. But between the HDV and the 90 min. run time, things are a little more complicated.
We shot and edited in native HDV 1080/60i. We've rendered our final master sequence in HD ProRes, but I don't know where to go from here. These are my main questions:
1. My primary distribution is going to be SD DVD, but I want to keep an uncompressed HD master file backed up on multiple hard drives. What's my best output option for such a file? Can I just export a self-contained QT in sequence settings? Will that apply compression I don't want? Is there a better output option in Compressor?
2. Keep interlaced or deinterlace? Again, most people will be seeing this as an SD DVD.
3. I'd also like to get a local video outfit to make an HD tape master for more secure long-term archiving. What tape format is recommended?
4. Question I should have asked but didn't? Please, do tell.
Thanks in advance for any help.
Stu

Ken Summerall, Jr. wrote:
The absolute best quality that you are going to get is by exporting a QT movie using current settings and making it self contained. Since you shot and edited in an HDV sequence this will add no further compression (remember that HDV is already heavily compressed).
Uh-oh. That's not actually correct.
HDV is relatively unusual as shooting formats go, in that it's a GOP format, as opposed to an I-frame format. In I-frame formats, each frame of footage (or pair of fields, if you're shooting interlaced) is compressed all by itself, independently of all other frames (or field-pairs). But in a GOP format, a number of frames are compressed together — that's what "GOP" means: "group of pictures." The first frame is compressed independently, then the next frame is described in terms of what's different from the previous frame.
When you edit HDV +and then export it as HDV again,+ whether to videotape or to a Quicktime, the GOPs must be "conformed." As you edit, you make cuts that break the GOP structure, so the timeline cuts from the middle of one GOP to the middle of another without including the first frame on which that second GOP depends. So when you export or lay off, Final Cut has to go through and convert a bunch of I-frames to B- or P-frames, and convert a bunch of B- or P-frames to I-frames.
In essence, exporting or laying off HDV imposes a compression hit. You will reduce the quality of your footage.
Since the question was about the best option for mastering, HDV is +definitely not it.+ Would it be okay? That depends on the footage, and on how picky you are. But it's not the best option. The best option is to master to a (ha ha) mastering format. Uncompressed 8-bit, Uncompressed 10-bit and ProRes are good choices here.
As for tape … that's tougher. You can absolutely send an uncompressed or ProRes Quicktime file to a dubbing house and get it laid off to videotape, but the question is to what format? HDV is a poor choice, because of the aforementioned compression hit you take when conforming the GOPs. DVCPRO HD would actually be a step down for you, because it would downsample your 1440x1080 native footage (or your 1920x1080 master, if you chose to upres) to 1280x1080.
That leaves HDCAM and HDCAM SR. If you've done things like color correction or compositing in a 10-bit color space — or even long-slow dissolves to or from black, which is one of the places where 8-bit really falls apart on you — choose HDCAM SR. HDCAM is an 8-bit format only, and you'll lose color precision if you go to that format. But if you stayed 8-bit all the way through your workflow, then you can go to HDCAM without any real problems.
Note that both HDCAM and HDCAM SR +are compressed formats.+ Your only option for uncompressed HD videotape is D6, and good luck finding a Voodoo recorder nearby. But HDCAM and SR are good enough for professional mastering, so they'll surely be good enough for you as well. And they're both available in 94- and 124-minute lengths, so you can master your whole feature on a single tape.
(While you're at it, consider getting your uncompressed or ProRes master file dubbed off to a data tape format as well. You worked really hard on this project, so it makes sense to be a little paranoid about preserving the fruit of your labors.)

Corel Burn.Now -- Specifications? Comparison to Windows 7 Built-In?

Has anybody used this tool that came bundled with my new Lenovo 530 and 64-bit Windows 7 Professional SP1?
I want to burn data CDs and DVDs for offline storage and archival. I need to know the file system used by this software (e.g., UDF, ISO 9660, Mode, Level, Joliet, etc.) and disk format (e.g., Disk-at-Once, multi-session, disk not closed, etc.) in order to assess compatibility with other readers and operating systems. There is precious little specific information in the "User Guide" provided with the progam.
The same questions apply to the Windows 7 built-in disk burner in "Mastered" format -- I would never use "Live File System" format, whatever that is.
-- JCW2
Solved!
Go to Solution.

JCW2 wrote:
...The only fault I can see so far is that it's Burner>Disk Information command doesn't list state the file system(s) found on the disk nor the size of the individual sessions. Other than that, it appears more capable than many programs out there...
Two addenda to the previous post:
1) Ulead Burn.Now 4.5 (aka. "Corel Burn.Now") doesn't know explicitly about different track "Modes" (e.g., Mode 1, Mode 2 Form 1, etc.) and gives you no direct control over that. (Nero 2014 **appears** to do this, but my trial copy refused to write data CD-Rs in anything but Mode 1.)
2) The best way I've found to get good diagnosis of a CD-R is to use ISOBuster free -- a really fine program! -- JCW2

Workflow/Sending to Final Cut

I have been working on a 720P DVCPRO project. I am not sure what the work flow should be for adding in your color correcting stage.
I have edited my project with speed ramps and different effects within Final Cut 6.02. When I rendered my files from Color after making a color correct, I then sent it back to Final Cut.
Once I opened the timeline that color added to my final cut project, All of my transitions were replaced with straight cuts. Also the speed ramps were gone.
Should this be expected? If so how should I be working on the color correcting stage?
What is the best way to do this?
Any help would be great!
Thanks,
Jesse

Preparing Your Sequence for Color Correction
Before you bring your project to me for color correction, there are a few things you can do to prepare your project in so we can get started more quickly, saving yourself some money in the process. On the other hand, if you're not comfortable going through any of these steps, I can do them prior to the actual color correction session.
Move All Clips That Aren’t Being Composited to Track V1
Editors often use multiple tracks of video to assemble scenes, taking advantage of the track ordering rules in Final Cut Pro to determine which clips are currently visible. On the other hand, it’s faster, easier, and less ambiguous for the colorist (me) to navigate and work on a project that has all its clips on a single video track.
For this reason, please move all video clips that aren’t superimposed as part of a compositing operation down to track V1, as shown in the following screenshots. If two or more clips are superimposed as an effect, by all means leave it be, and I can color correct each layer as necessary.
Unprepared Timeline Prepared Timeline
Tip—if you hold the Shift key down while you drag clips up and down in the Timeline, you'll lock their position in time so you don't inadvertently move the clips out of sync with the audio. Furthermore, if you don't want to change the track order of audio items that are linked to the video clips you're moving, you can turn off Linked Selection. This lets you move video items without also moving their audio.
Remove All Non-Essential Filters From the Clips in your Sequence
It's often difficult for me to distinguish between temporary effects that I'll need to replace, and permanent effects that you want to preserve. For this reason, if you've created any temporary color corrections during the offline phase of your edit, please remove these from your sequence before bringing it in.
If you feel that these filters are a useful reference for the direction you'll want me to take, then make a duplicate of your edited sequence to back it up before you start cleaning it up, and name it "Sequence Name- Reference Copy." That way, I can always open up the original state of your program to take a look at what was done previously.
Please note, I'm only talking about color corrections that were done during the offline edit. It's not necessary to remove every filter in your program. By all means, retain any and all filters that are currently used to create effects that are integral to your program.
Place Timeline Markers at Scene Beginnings, Effects, and Problem Areas
A completely optional step, but one that can save time during the session, is to take the time to place Timeline markers with scene names or numbers at the first edit of each scene in your project. This makes navigation extremely fast, and removes any ambiguity when you ask me to go to a particular scene.
Also, if there are effects shots in the project, either done in Final Cut or created in another application, please place markers to identify these as well named "FX - Description" in the Timeline for each effect.
Lastly, if there are problem shots or scenes that you know will need special attention, place markers named "Problem - Name Of Problem" in the Timeline for each issue in the sequence. This speeds the session, and also provides me with some guidance in unsupervised sessions.
Bring Third Party Filters That Are Used in the Project
If your project uses third party FXscript filters that you've installed for use with Final Cut Pro, those are saved along with the project file. On the other hand, if your project uses third party After Effects or FxPlug filters (such as those used by Motion), you will need to bring those filters to me along with your other project and media files.
Tip—If you have the time, it's often helpful if you can place a marker in the Timeline (not in the clip) calling such effects to my attention.
Bring All Fonts Used by Text Generators, LiveType, and Motion Project Titles
While most color-correction sessions don't involve motion graphics work (although some do), it's still good for me to be able to view your project as it's supposed to appear. The color and placement of superimposed titles sometimes necessitates changes to the color correction of the clip underneath. Also, if you need me to render a version of your program that includes the titles, I'll need to have the fonts.
Tip—After color correction, I recommend having rendering at least one version of your program as a textless master. This lets you redo your titles at any time without having to re-render the entire program.
Preparing Your Media for Color Correction
If your project and all its media fits on a single portable hard drive, it may not be necessary to use the media manager, you can just copy all your files and folders to the hard drive. If it doesn't, it's a good idea to consolidate your project's media in order to make it more portable.
Media Manage Your Project
It's best to eliminate unused media to save drive space (especially if you’ll be recapturing uncompressed media), and consolidate all the source media used by your project into a single directory for easy transport and relinking. This is also a good step to take prior to recapturing your media, if necessary.
The safest way to do this using the Media Manager is to use the following options:
1. Which option you choose from the "media referenced by selected sequence" pop-up menu depends on whether or not your source media needs to be recaptured.
* If your media is already at its highest quality and you don't need to recapture it, then choose Copy. This safely duplicates the media used by your project onto another hard drive (which you choose using the Browse button in the Media Destination section near the bottom of this window), while leaving your original media untouched.
* If your media needs to be recaptured (see the next section), then choose Create Offline. This creates an offline version of your sequence, ready for the recapture process.
2. Turn off Include master clips outside selection. This saves space.
3. Turn on Delete unused media from selected sequence.
4. Turn on Use Handles, leaving the handles duration field at the default of 1 second, just in case you need any last-minute editorial tweaks.
5. Turn on Duplicate selected sequence and place into a new project. This further protects you by saving all changes to a duplicate project file, which is also saved in the directory you choose with the Browse button.
6. Turn off Include affiliate clips outside selection. This saves more space.
7. If this is a multi-camera edit, turn off Include nonactive multiclip angles if you've locked your edit. This will significantly reduce the amount of hard drive space you need to transport your project.
8. If you're using the Copy option, click the Browse button to choose the external hard drive to which you want to copy the media.
The following screenshot shows the Media Manager set up to copy preexisting media.
Media Manager Setup
Once you've media managed your project and copied all the files to your portable hard drive, it's a good idea to unmount the hard drive containing the original media, and then try opening up the newly copied project and media from your portable hard drive. This lets you check to make sure you've got everything, and that all the files relink to the project properly.
Recapture Your Source Media (If Necessary) at the Highest Quality
For the best results, it’s essential to use media that has been captured at the highest possible quality. If you’re following an offline/online workflow where you captured the source media at low quality in order to save hard drive space, you’ll need to recapture that media at its highest original quality. This is not to say that you need to recapture everything using the 10-bit Uncompressed 4:2:2 codec if it was originally shot using a compressed format.
For example, if you’re working on a program that was shot on NTSC DV tape but that was originally captured and edited with the OfflineRT format, you need only recapture the source media at its original resolution and format using the DV/DVCPRO - NTSC codec. Likewise, DVCPRO 50, HDV, DVCPRO HD, IMX, and HDCAM HD (35 Mb/sec VBR) are all suitable video formats for beginning the color correction process using their native codecs.
Here's why. In either Final Cut Pro or Color, image data from supported compressed formats is decompressed at the beginning of the image processing pipeline, with all the internal image processing performed on uncompressed data. During rendering, the corrected, internally uncompressed image can be written straight to disk as an uncompressed file. In essence, the rendering process upconverts your program at the same time it processes your color corrections, preserving maximum image quality.
On the other hand, if you’re working with media that's in an analog or digital mastering format such as Betacam SP, Digital Betacam, or D-5, you’ll want to capture it using the 10-bit Uncompressed 4:2:2 codec if you want your media to be completely uncompressed. On the other hand, to save hard drive space you can now capture your media using Apple's new mastering-quality compressed codecs; ProRes 422 is suitable for capturing and mastering standard definition media, while ProRes 422 (HQ) is suitable for high-definition media.
Render Specific Effects as Self-Contained QuickTime Clips (optional)
(This step pertains only to preparing for a Color session)
If we've discussed your program in advance and you know for a fact that it will be corrected using Color, there's another optional step you can perform to prep your project. Certain types of clips and effects in Final Cut Pro sequences are not supported directly inside of Color, including:
* Still images (such as .tiff and .jpg files with durations greater then one frame)
* Final Cut Pro freeze frame clips
* Final Cut Pro generators
* Motion project files edited into the Timeline
* LiveType project files edited into the Timeline
* FXScript and FxPlug filters (ignored by Color)
* Variable speed effects (linear speed effects like 50% and 200% are fine)
Most of these effects are simply ignored by Color, leaving offline clips in the Color timeline. However, unless they're titles or superimposition effects, usually these clips need to be color corrected along with the rest of the program. For the smoothest Final Cut Pro to Color round trip, it's usually best to render (export) such effects as self-contained QuickTime files, then import them back into your project and edit them back into your Final Cut Pro project to replace the original effect clip in your project.
If you have any questions about this process, don't worry about it. This is a preparatory step that I can take care of. However, if you know what you're doing and you'd like to take care of this yourself, the following is a good workflow:
1. Drag the unsupported clip to track V2 (see 1 in illustration).
2. Solo the auto-select control for track V2 by Option-clicking it (see 2 in illustration).
3. Move the playhead to that clip, and mark the clip for export by pressing X. This sets the sequence In and Out points to match those of the clip (see 3 in illustration).Rendering Unsupported Clips
4. Choose File > Export > QuickTime Movie...
5. When the Save window appears, choose Custom from the Setting pop-up.
6. When the Sequence Preset Editor window appears, choose 10-bit Uncompressed 4:2:2 from the Compressor pop-up menu in the QuickTime Video Settings section, then click OK (despite the window's name, this does not change the original sequence settings).
7. In the Save window, choose a name and location for the new media file, and click Save.
8. When it finishes rendering, reimport the new QuickTime movie back into your project. It's helpful to create a new bin in which to store all of your prerendered clips.
9. Lastly, edit the rendered clip into the gap on track V1 underneath the original clip on track V2.Preparing Sequence 02
After you've rendered all of the unsupported clips in your sequence, you can disable the original superimposed clips in track V2, but leaving them in your sequence makes it easier to locate and rework these effects should you decide you ever need to make a change. Now that the effect has been turned into a QuickTime movie, it can be graded in Color just like any other clip.
Note: Don't forget to bring these rendered clips along with all the other media for your project.
Rendering Speed Effects
Rendering speed effects works a little differently. If you have Final Cut Studio 2, you have the option of rendering clips with linear or variable speed effects in higher quality by sending all such clips to Motion to render using Motion's adaptive image analysis to create smooth slow motion effects. This is highly recommended.

Setting timecode

hello, i'm attempting to black a tape in order use the edit to tape feature in FCP, and i need to set the starting timecode on the deck itself to 00:00:58:00. I am using a Sony HVR-M15U HDV deck. If anyone has experience with this please help. Thank you.

You cannot EDIT TO TAPE to HDV...only PRINT TO VIDEO. Because HDV needs to conform back to a GOP format when you output back to HDV.
HDV isn't a mastering format. You cannot set up timecode the same way you can other formats. If you shoot with HDV, you generally master out to another HD format, like DVCPRO HD or HDCAM.
Shane

Mastering Format

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