Photoshop file with lots of text layers for Final Cut

I have created a photoshop file with around 20 different text layers. The sizing and the location of the layers is essential.
When my editor imports the file the text layers lose their properties (sizing and placement).
Is there something I should be doing to help solve this problem?
Can you use text layers between photoshop and final cut?

I would ask this in the 'Mac' side of the PS forum.

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http://help.apple.com/imovie/cameras/en/index.html?lang=en_US
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http://support.apple.com/kb/HT3290?viewlocale=en_US
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Need help moving photoshop files with layers

I have been having some trouble, when I attempt to move photoshop files with a CD-R disk, from my school pc to my home mac, only the top most image is moved. The layers are deleted, and I only receive the image on the background layer. I need the layers to continue working on the pieces. Would a flash drive transfer the whole file, or am I doing something wrong with the disk file?

Yeah, time is a factor because the system is getting wiped in a few days. The school version is photshop 7 I believe, and I have photoshop CS3 extended here. What I did was save the file to the CD burner, I didn't change the format to my knowledge. I thought that the data would have transfered from computer to computer, but it didnt, its like it saved as a different file entirely. I assume that using a flash drive would preserve the info in its entirety. I guess your saying that the type of file its saved as changes whether its a photoshop layers file, or just a flat image. I'll try again tomorrow.

Using the current version of photoshop CC with Mac OS 10.9 for the next 5 or so years on same mac?

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You should ask in Photoshop General Discussion
The Cloud forum is not about using individual programs
The Cloud forum is about the Cloud as a delivery & install process
If you will start at the Forums Index https://forums.adobe.com/welcome
You will be able to select a forum for the specific Adobe product(s) you use
Click the "down arrow" symbol on the right (where it says All communities) to open the drop down list and scroll

Following Media Files Are Not Optimized For Final Cut Pro

I'm sure you've seen this before and I've tried to search for a thread on it here and fell asleep, so sorry if this is a repeat.
I have edited projects in Premiere Pro (on my PC) and I have tried to transfer them in FCP. It worked with the exception of two things:
1. the error message, "Following Media Files Are Not Optimized For Final Cut Pro"
2. the quality *****! watching it on the playback in FCP it looks great, but then when I burn it to Disc it's pixelated in spots and generally has a lower quality picture.
I know that it's Standard Def. and can't expect the best, but I've done it before (once or twice) and it didn't seem this bad.
Can someone suggest anything to help the quality? Should I run my AVIs through MPEG Steamclip to make it a QT file and if so what is the best format in that since there are many to choose from and most I'm not familiar with?
Thank you,
Crayton

I did compress them to DV NTSC then burned it to DVD and the result was no bueno.
I thought what I would do is try compressing them again before I send them on over to DVDSPRO. Here is a simplified break down of the situation:
- I have edited the raw footage in Premiere Pro on my PC. They were recorded and captured as SD.
- I rendered them in Premiere, then transfered the rendered AVI file to FCP.
- When went to place the files in FCP, I received the warning message; "Following Media Files Are Not Optimized For Final Cut Pro" but I went forward anyways and it allowed me to do so.
- Originally I went ahead and compressed them from FCP to QT Movie as a DV NTSC, which ended up poorly.
- Therefore my question is, should I compress them using another file type (other then DV NTSC)? Which leads me to another program that I have called MPEG Streamclip, which offers tons of file types of which I am unfamiliar with most. I want the best quality of course but don't know what file type is the highest going from AVI to a format that can be accepted by FCP and ultimately DVDSPRO. Keeping in mind that I only have FCP5 and do not have Prores.
Did that make sense?
Thank you again,
Crayton

Hi, I downloaded the app for macbook "Lens Flare for Final Cut" and I've struggled a lot to install this app at final cut . Someone could help me ? i´m from Mexico i speak spanish

Hi, I downloaded the app for macbook "Lens Flare for Final Cut" and I've struggled a lot to install this app at final cut . Someone could help me ? how i can install this app in Final Cut? this app cost me money and not is working to me, i am disappointed sorry if a write bad, i´m from Mexico i speak spanish

This is a user2user board for FCPX - maybe better you discuss your issues with the makers of that 'plug in'
Seems for me a bit 'fishy', isn't it? - other professional plug-in makers deliver with an installer... That advice at AppStore, how to install it, is ... rare:
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How it works ? – In Final Cut Pro you will find in Generators RGB HOUSE group, where will be Lens Flare. Drag this generator above all clips in timeline. When it’s there remember to change blending mode to Screen (in video section). You can adjust color, steak color, glow, intensity, scale - apacity and blur of artifacts, position. Any parameter could be stored as a keyframe, so You can easily animate the flare.
so, I don't speak Spanish, lets have some fun with translate.google...:
Cómo instalarlo? - Haga clic en el botón de inicio. Motion 5 comenzará Misma. Cuando el movimiento está abierto clic en Guardar como escribir un generador de nombres -. Resplandor del objetivo y seleccionar categoría RGB CASA o hacerlo. Haga clic en Publicar y ya está. Si usted no tiene el movimiento 5 vistazo a sitio de soporte - cómo instalar en FCP.
Cómo funciona? - En Final Cut Pro se encuentra en el grupo generador RGB CASA, donde serán destello de lente. Arrastre este generador por encima de todos los clips en la línea de tiempo. Cuando es allí te acuerdas de que cambiar el modo de fusión a la pantalla (en la sección de vídeo). Usted puede ajustar el color, color carne, brillo, intensidad, escala - falta de definición apacidad y artefactos de su posición. Cualquier parámetro podría almacenarse como un fotograma clave, por lo que puede animar fácilmente la antorcha.
Hope it makes at last a little sense... I don't trust these automatic translators
(the German translation is ... awesome funny!)
Finally: it's from 2012! Needs probably an update - contact the dealer!

Problems with Canon EOS MOVIE Plugin-E1 for Final Cut Pro

After about two weeks of using the Canon EOS MOVIE Plugin-E1 for Final Cut Pro, I've found some clips are cut short when they are transcoded to Prores and appear in the browser. Has anyone else had this happen?

Yes, just started using this and noticed pretty soon afterwards. Seems to happen when I start clicking around or doing anything that uses the processor more than just surfing the web, but that's just anecdotal. I immediately stopped and started using MPEG Streamclip, but I really want the timecode.
Most recently, I had Log and Transfer open, transcoding some 7D footage, and a few of the clips didn't come in—they were left with the red stop-sign symbol/exclamation point. When I clicked to "retry," it stopped importing the current clip and started on the clip I retried. I clicked "retry" on another unimported clip, and again, the clip import stopped and the new clip began processing. I let it go through and, after the checking the footage, I discovered it had been incorrectly named the first clip's filename! Needless to say, I hand-checked every file to make sure it was the right duration (a few weren't), deleted the files from the Capture Scratch folder, and reimported—making sure I didn't touch the computer.
I hope they fix this bug, whatever it is.
BTW, I've experienced it on two separate Mac Pros.

Canon EOS MOVIE Plugin-E1 for Final Cut Pro Now Available...

There's been so much talk about the 5D, 7D, 550D on this board that I'm going to point to the EOS MOVIE Plugin-E1 for Final Cut Pro. This is supposed to speed to transcode of Canon Camera H.264 to FCP-friendly formats and let you add more metadata along the way.
Enjoy!
Canon webpage. Under Drivers & Downloads. Once you select your OS, "Mac OS X", the download should appear near the top of the "Software" list.
Note: (from Quickstart Guide)
This plug-in software allows you to convert MOV movies shot with an EOS Digital camera into ProRes files at high speed in the (Log & Transfer) window of Apple's Final Cut Pro.
FWIW: The quick start guide says cameras involved are 7D, 5D, 1D, no mention of 550D. Sort of odd.

For users in North America to make the Canon EOS REBEL T2i work (550D for Europe):
1. Install the new Canon EOS MOVIE Plugin-E1 for Final Cut Pro (http://www.usa.canon.com/consumer/co...nloadDetailAct)
2. Go to Library/Application Support/ProApps/MIO/RAD/Plugins/CanonE1.RADPLug/Contents/Resources/
2. Open up cameras.plist
3. After the 7D info add the following lines of code (keeping to the coding structure):
<key>T2i</key>
<array>
<string>Canon EOS REBEL T2i</string>
</array>
4. Save the text file. Close it. Everything should work now.
Cheerz.

Change for final cut pro HD from Pinnacle Studio 10

Hello,
After lots of problems with Pinnacle Studio 10 (windoooooows.....) I finally chose to change for final cut pro HD on Mac OS 10.3.9
So far so good, I did lots of tutorials to learn but there is one very remarkable thing I really miss. Maybe there is just a thing in my configuration to fix...
Is it possible to view a part of a movie without randering it after every simple change? It must be technically possible because studio does it for years now, even with overlays.
Because I just upgraded my ibook with lots of RAM just to try out final cut for the moment, everything runs fine but rendering does take a few minutes/hours.... Well it is ok just to try out maybe I would get a macbook pro if final cut would assure me.
I feel like cutting blind!
Studio renders right before exporting, this may take a few hours but I would do this during night...
As I said, maybe its all my fault and I just have to change some configurations....
thanks for help
Fabi

Make sure your RT settings (upper left menu in the timeline) is set to UNLIMITED RT. This means that the render settings will be adjusted to play back at the best resolution they can without rendering. You might get a green render bar or orange render bar. If you get a red render bar, that means that you have a filter or two that isn't RT and requires a render, or you have too many layers to allow for RT playback.
If you simply drop a raw clip into the timeline and have to render, that means something is wrong. Your clip settings and sequence settings don't match. You need to choose an Easy Setup that matches your footage, then create a new sequence.
Shane

What is the recommended set up for Final Cut Pro re: Scratch Disks etc

What is the recommended set up for Final Cut Pro with regards to Scratch Disk etc.
I have a lot of projects and at the moment they are all over the place on various external HDDs etc.
I just bought a new Firewire 800 External HDD and want to get everything straight but I'm not quite sure where to start...
Any advice would be appreciated.
Thank You

Media Manager (available from the File menu bar item) will consolidate all elements of your project together with a linked copy of the project file to a single folder in a location of your choice. There are various options to leave out unused footage, include handles etc. Safest way is to copy the files. Delete the originals when you are sure the copy works.
The user manual has a detailed description of how MM works.

WHAT IS THE BEST VIDEO CARD FOR FINAL CUT PRO and MOTION?

Hello folks,
I have found a lot of posts regarding all kinds of troubles with ATI READEON X1900 video card.
When I talked to people from Apple, trying to decide which videocard to install in new MAC PRO, Ati Radeon X1900 was the one they did recommand for FCP and Motion. So are there any other cards which would actually suite better for Final Cut Studio2, or is Ati Radeon X1900 really the one to go with?
Thanks for any suggestions,
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So seems Intel and everyone else is trying to get new products out before the end of the year, if possible.
Drivers for graphics controllers may or may not need the work that sometimes seems to plague companies.

Can I add a secondary location for Final Cut Pro Documents?

Hi Guys,
I'm working on a large project which has taken up most of my 2tb hard drive which I use for my final cut pro documents (capture scratch, render files etc). Is it possible if I plug in another hard drive to use that as a secondary location for final cut pro documents as I have other (smaller) projects which I could be uploading and working on in the mean time? If so, how is this achieved and what are the pros / cons?

Sure -- go to Final Cut Pro menu on your menu bar and select System Settings.
The first tab is SCRATCH DISKS -- that's the term too -- not secondary folder for FCP Documents.
Change it there.
Drawbacks...
It has been a while since I've had to deal with this, but FCP used to not remember (feature or bug??) a project's original scratch disk location and if you change it for ONE project it will be changed for ALL future AND past projects... until you change it back.
Now, that in itself isn't a BAD thing. All that that means is that if you continue to capture material into that old project it will now put it over here instead of over there. Also, other things like render files and such which won't really matter much unless they do... and now you've got stuff spread over a coupla drives.
FCP's projects don't care. They've already mapped where they need to go to get the video and render files it needs. Move your Scratch Disk 33 times... won't make a difference to the browser and timeline. -- UNTIL you remove one of the important drives. THEN red lines galore! Un renders, missing files... messy messy messy!
Much better to start and finish a project in scratch disk. Makes for easy cleanup. Kinda like cooking thanksgiving dinner (American??) in 5 houses at once.
Good luck,
CaptM

Which firewire interface for Final Cut Pro on MacPro?

I currently own a Presonus Firepod, and it seems to work pretty well, but may sell this when I upgrade from a MacMini to a MacPro. I use my Mac for Logic Pro currently.
I anticipate running Final Cut Pro in the near future, so I'm wondering about the ability to read/generate SMPTE time code that the MOTU traveller supplies?
There will be no external mixer, so this interface will connect directly to speakers & headphones. (would be nice to be able to mute speakers and control headphone mix using just the firewire interface).
I don't anticipate needing more than 2 Mic inputs - and my current mike is a Rode NT1. (As the NT1 is not a top-of-the-line mic, unsure if I should place a lot of emphasis on worrying about the pre-ams?)
I would like decent mic preamps, and ability to graphically monitor input and output levels (is this graphic monitoring necessary, or is just the single overload indicator sufficient?).
Which interfaces in $600-$1500 range would work best with Final Cut Pro - and Logic Pro?

I saw the Traveller ads in Videography mentioning
time code, so I presumed it had an advantage over
other interfaces.
I found this in some ad copy:
"""The Travler provides on-board SMPTE time code synchronization features that allow you to slave your Traveler system to SMPTE time code without a synchronizer. The Traveler provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and sub-frame accuracy. The included MOTU SMPTE Console software provides a complete set of tools to generate SMPTE for striping, regenerating or slaving other devices to the computer."""
So it likely uses an audio port for timecode I/O. However, unless you have external equipment that you want to slave to Logic Pro, (or have Logic slave to) e.g. a timecode DAT, then this really is not necessary. FCP would not see the Travaller as a "controllable" device.
For Final Cut Pro use, I'd probably shoot in HDV.
When shooting a green screen near my computer (or
maybe even on-site), I wondered if there would be an
advantage to recording the audio thru an interface
like the traveller.
The advantage is that you could capture additional mics and audio tracks with your mac while the cameras shoot. Just slate your takes and sync up later.
Do I actually need an interface that provides time
code, or is that only needed for movie work?
I have SMPTE I/O on my Unitor8, directly accessable in Logic Pro. In 8 years I've probably used it twice to capture audio from some modular digital multitracks. So, unless you have some specific need.....
Maybe it is simpler just to connect to the mic
directly to the camera's input?
Indeed. You should always have camera audio available. Anything else is supplemental. Alternatively, you could use the Travaller or RME, etc. as a "live to camera" mixer in a studio situation. Plug your mics into the interface, create a submix and send it to the camera while simultaneously capturing each mic to an individual track in Logic Pro. There are many possibilities.
G5 QuadPPC2.5, Ram:12.5g, Magma PCIe-PCI expansion Mac OS X (10.4.8) 2X Hammerfall DSP Digiface+Multiface, Digi 002r, 4X UAD-1

Photoshop file with lots of text layers for Final Cut

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