Removing Easy Setups

A question caught my eye on Apple's support boards today. Someone had created an Easy Setup in Final Cut Pro, deleted it and yet it was still present in the Easy Setups menu.

Here's how to remove them properly:

1. Close Final Cut Pro.

2. Go to /Library/Application Support/Final Cut Pro System Support/Custom Settings and delete the preset in question.

3. Go to ~/Library/Preferences/Final Cut Pro User Data and delete the file called Final Cut Pro 6.0 Prefs (or whatever version you have).

Alternatively, a much easier method is to use our free Preference Manager application to do it for you, along with a whole host of other options.

4. Empty Trash and start up FCP again.

The downside to this is that you lose your user preferences and must set them again.

Browser corruption bug still not fixed

I can't believe Apple still hasn't fixed this. This bug has been in Final Cut Pro for as long as I can remember (since at least version 5) and is so simple to replicate that you'd think they'd have fixed it by now. I've been experiencing it for a long time but for some reason it really annoyed me today.

1. In the Browser, modify the height of the window so that the bottom element in the list is at the very bottom of the window but not so much that the scroll bar appears.



2. Use your mouse's scroll wheel to scroll downwards.



It's really annoying when it happens accidentally, especially if a client is looking over your shoulder. I fix it by making the window a bit smaller to force the scroll bar to appear.

This is by no means the worst bug of Final Cut Pro but it really shouldn't have been here for so long. It's ridiculously simple to fix because it's so easily replicable.

What to do if you lose your Pro App serial number

Apple have a new AppleCare doc on their site asking a question that comes up quite often - what do you do if you lose your Final Cut Studio (or other Pro App) serial number?

You need to fax or email them proof of purchase giving details of the product purchased, the price paid, when it was purchased and the name and address of the reseller. I am emphasizing reseller here because the purchase must have been made from either Apple or an authorized reseller in order to qualify. If you bought it from eBay or from a friend, you're out of luck, unless they happen to be authorized.

This actually raises one more question - legal purchasers of Final Cut Studio are allowed to transfer their license to one other person as long as they remove all traces of FCS from their system, but most people sell their software and don't bother to fill in the transfer form. The article doesn't state whether the recipient of the transferred license would be eligible for this scheme, although I would imagine the answer is yes. Apple used to provide a way of offering feedback on AppleCare docs but unfortunately they no longer do this.

Hopefully we'll have another doc up soon answer another common question - what do you do if your disc gets lost, stolen or damaged?

[via LAFCPUG]

Final Cut Server 1.1 update

Apple just released Final Cut Server 1.1. Here are the fixes:

QuickTime 7.5 and FCP 6.0.4 support - QT 7.5 is REQUIRED for this update. With Final Cut Pro 6.0.4, FCServer can now access the project file directly. It does not need to create a separate XML file in order to access the data. Remember to keep versions on your network synchronized - if you upgrade one machine to FCP 6.0.4 and FCServer 1.1, it is best to upgrade them all.

Updating Checked Out assets - You can now manually update Checked Out assets when not using Final Cut Pro (i.e. DVD Studio Pro, Motion, etc).

Edit Proxy Files - You must reanalyze your 1.0 proxies after installing 1.1.

Final Cut Pro file preferences - These are now respected when opening FCP projects.

Multi-byte character sets - Multi-byte languages such as Greek and Russian now display correctly.

See the Release Notes for more information.

I probably don't need to say this any more but it's always best to - NEVER update in the middle of a project, don't update if you don't need these fixes and always keep a clone for safety.

Pro Applications Update 2008-02 aka FCP 6.0.4

Yesterday Apple released Pro Applications Update 2008-02 which contains Final Cut Pro 6.0.4 and Compressor 3.0.3. It is important to note that this is not a new version of Compressor. It was included in Pro Applications Update 2008-01 earlier this year but I guess it is compulsory for this update so they included it again.

Not a great deal of fixes:
Enhanced Final Cut Server support - If you have Final Cut Server 1.1, you can now access projects directly without converting them to XML first. It would be interesting to see if other applications can use this as well.

XDCAM 422 preset - Changed to include 24-bit audio as default

Capturing HDV clips - With QuickTime 7.5, HDV clips in Capture Now mode can capture beyond the end of the tape. This update now allows you to press Escape to stop it. I'd advise going to Final Cut Pro > System Settings and setting the Capture Now limit to the length of your tape. This stops your disk space being eaten up with blank data.

Usual warnings apply - NEVER update in the middle of the project, don't update if you don't need any of the features provided in this patch and always have a clone of your drive as a backup.

Release Notes

In a future patch I'd really like to see stability fixes for Compressor, Soundtrack Pro and working with Motion clips in an FCP timeline.

ATI announces Radeon HD 3870 Mac and PC Edition

ATI announced the availability of the Radeon HD 3870 Mac and PC Edition a couple of days ago, shipping in late June for a recommended price of $219.



This must be welcome news for Mac Pro owners, as the current alternative, the NVIDIA 8800 GT suffers from underwhelming ProApp performance, despite the recent improvements in the 10.5.3 update.

Here is a specification comparison:

	Radeon HD 3870	8800 GT
Stream processors	320	112
Core clock	775 MHz	600 MHz
Memory	512 MB	512 MB
Memory interface	256-bit	256-bit
Memory bandwidth	70 GB/sec	57.6 GB/sec
Price	$219	$279

ATI also claims a performance boost in Motion of 30-180%. Barefeats found a 21-41% performance increase over the 8800 GT - for $60 less. It is also compatible with ALL Mac Pros and available from most ATI resellers (the 8800 GT Mac Edition is only available from the Apple Store). This looks to be well worth buying.

Using Frame Controls in Compressor

Compressor has some very sophisticated technologies in the Frame Controls tab of the Inspector to enable it to perform high-quality resizing, retiming and deinterlacing of footage.

These are incredibly useful but it is very tempting to set everything to "best" when it is not at all necessary and causes a significant impact upon the processing time. So what this post aims to do is outline what each function does and when it should be used.

Firstly, if you are not resizing, retiming or deinterlacing footage, do not switch Frame Controls on at all.

Resizing controls
When an image is resized, new pixels need to be calculated. If you downsize an image, an area that was once 10 pixels could now be 2 pixels and vice versa if you are upsizing. Compressor goes through the resulting image and calculates what each pixel value should be based on the value at that point in the original image. These are not always integers. For example, a pixel at point (3,3) in the resulting image might correspond to point (2.8, 2.8) on the original. As there is no pixel at (2.8, 2.8), Compressor has to calculate a suitable value. The following options are different ways of calculating these pixel colors.

Fast (nearest pixel) - Compressor takes the value from the closest whole pixel in the original image. This is very fast but can result in significant visual artifacts and inaccuracies, particularly when resizing by a significant amount.

Suitable for: Minor size changes, situations where a fast encode is more important than a high quality one.

Better (linear filter) - This improves on the nearest pixel method by taking the values of four surrounding pixels and weighting them, increasing accuracy.

Suitable for: Most downconversions (e.g. 720p to NTSC).

Best (statistical prediction) - This uses more complex algorithms to maintain edge sharpness, at the expense of processing time.

Suitable for: Upconversions (e.g. NTSC to 1080p HD)

Anti-aliasing slider - This smooths rough edges but don't set it too high or you will visibly soften the image.

Suitable for: Smoothing jagged edges when upconverting footage (e.g. PAL to 720p HD)

Detail Level slider - This sharpens edges, increasing our perception of detail in the image. Use sparingly to avoid adding noticeable noise or jagged edges to the image.

Suitable for: Sharpening soft edges when upconverting footage.

Deinterlacing controls
To deinterlace, first select Progressive from the Output Fields drop-down menu. Use this instead of the Deinterlace filter in the Filters tab as it will provide greater output quality. Choose one of the following from the Deinterlace menu:

Fast (line averaging) - The two fields are blended into one frame. This, however, can result in strange motion artifacts because you are playing two fields at the same time that were originally offset in time.

Suitable for: Situations with very little motion.

Better (motion adaptive) - This method analyzes the fields and uses simple linear blends (equivalent to the Fast setting) on areas with no motion. For areas with motion it discards one of the fields and uses interpolation to build up a whole frame from the other field's data.

Suitable for: Most situations except those with extremes of motion. In most cases you will not get any benefits from choosing higher settings than this if you are working in Standard Definition (e.g. NTSC, PAL). The downside to this method is that you lose vertical resolution if there is a lot of motion in the image.

Best (motion-compensated) - This uses optical flow technologies to track the motion of objects and analyzes multiple frames at once. This data is then used to split the image into blocks (typical sizes are 4x4, 8x8 or 16x16) and then shift these blocks so as to align motion between the two fields. This is incredibly processor intensive and will take some time.

Suitable for: Situations with extremes of motion (e.g. sports).

Retiming controls

Fast (nearest frame) - If you slow down footage, Compressor will need to add extra frames. This option just duplicates the nearest existing frame. It is very speedy but it can result in very choppy / juddery motion. If you are speeding up footage however, the choppiness will probably not be noticeable.

Suitable for: Minor speed adjustments, fast motion

Good (frame blending) - This blends frames together to create "in-between" frames and is a lot smoother than the nearest frame method, at the cost of processing time. This is suitable for most applications unless you are performing extreme slow motion.

Suitable for: Most speed changes with the exception of extreme slow motion

Better (motion-compensated) - This uses complex algorithms to analyze a range of frames and interpolate (predict) what the in-between frames should look like based on their surrounding frames. It then creates these new frames from scratch. Obviously this is very processor-intensive.

Suitable for: Extreme speed changes or footage with large amounts of motion (sports for example)

Best (high quality motion-compensated) - Apple's documentation is a little unclear on what makes this particular option higher quality than the one below it. It could be that it analyzes more frames to produce the final result, it blends using a higher bit depth for greater accuracy, or it recreates every single frame instead of just the in-between ones for greater smoothness. Or maybe all of them.

Either way, this is incredibly processor intensive and should only be used if you cannot get good results with lower settings.

Suitable for: Extreme speed changes or significant frame rate increases (e.g. 23.98 to 59.94 fps)

Conclusion

So what does this tell us? It tells us that "Good" or "Better" should be adequate for most situations and it is not worth choosing "Best" unless your footage actually needs it. The best way of finding a happy medium is to start with everything on "Fast" and perform small test renders (10 seconds or so) for multiple areas of your movie. If you are not happy with the quality, go up to the next level and keep going until you reach a level of quality you are happy with.

"The filter failed to render" error fix

Just saw an interesting fix for the big red "The filter ____________ failed to render" message some people have been getting in Final Cut Pro.



I seem to get it randomly every now and again but this is a useful fix for those who were experiencing it on a permanent basis. Pity you need to lose a monitor though.

How to fully remove Final Cut Server

Apple has just released an Applecare document listing the files installed by Final Cut Server and detailing how to remove them. This follows on from the difficulties a lot of people had with removing it due to the large number of files it places in hidden system folders. This was further complicated by Apple not wanting fixes made public until they had a chance to address the issue themselves.

I will use this information to add support within FCS Remover shortly.