REVIEW JUNE 13, 2001
Final Cut Pro 2.0
In addition to still images, QuickTime movies can also be imported if they have been encoded with compatible CODECs. It is my experience and suggestion that any graphics or QuickTime movies you plan on importing are created using the same CODEC you are editing with. For example, if you plan on editing in DV format, make sure all QuickTimes are encoded using the DV CODEC. If you do not, you will have to render these imported files, and that eats up a great deal of time.
If you're one of those people who insist that the quality of Final Cut Pro 2.0 is not up to your "specs," the EDL can be exported to many different formats, including CMX 340, CMX 3600, Sony 5000, Sony 9100 and GVG 4 Plus.
Flaws and fixes
While keying DV is not impossible, the keying functionality in Final Cut Pro 2.0 is not quite there. Too many chroma keying errors and tweaks need to be performed in order to get a decent key. This can easily be solved, as Final Cut Pro 2.0 supports many third-party Adobe After Effects plugins, like Ultimatte.
Another drawback is not really the fault of Final Cut Pro 2.0 itself but rather in how it interacts with other programs on your system. Occasionally during transitions and graphic overlays a luminance change will occur. This, of course, makes outputting the final results impossible, as no client in the world would accept these errors in their video. One solution that I found, which may work for you, is to uninstall or deactivate the RadDV CODECs. These CODECs may have been installed if you have Media Cleaner Pro 4 or Cleaner 5, or may have come preinstalled on your system. This was one solution; I have not seen any further discussion on any of the Final Cut Pro discussion forums that offers a different solution to this error.
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Stephen Schleicher is the producer of DMNTV, Video Systems, Millimeter and Digital WebCast and is the host of the Video Systems, Millimeter and Digital WebCast forums at the World Wide User Groups. He has taught at Fort Hays State University in Hays, Kansas, and at the American InterContinental University in Atlanta, Georgia, where he also ran his own animation company, Thunderhead Productions. Stephen also freelanced in the Atlanta area as a producer/editor for five years working on everything from training videos to live shows.