Unless your codec uses an averaged bit rate algorithm.

But to get serious for a moment, the first question is, what specific codec does the client need?
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Here's an easier way. Put your layers in their own Groups, set the Anchor Point to the joints. Sub-Group things. I have a sample file of one I did some time back if you want to check it out. Drop me an email (address is in my profile) and I'll send it to you. It is way easier and gives you more skeletal like control.
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You can delete the Analysis Folder and not really break anything. But the next time you launch FCP X, it will automatically start the analysis process from scratch. So you may want to change your slow motion to Frame Blending or something besides Optical Flow first.
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Using a keyed green screen layer can be use as the animated mask source for other layers. This tutorial shows how the basic mechanics work, as well as combining it with other compositing techniques for a variety of effects. Examples include achieving ghosting effects and a Bond style opening effect.
www.artbeats.com/video_tutorials/52
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90% of those "horrible things" are completely untrue, also.

Ripple Training and macProVideo, two best online at this time.
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You need to fee up space on that drive. 10-15% of total capacity as free space is pretty much mandatory for your system to operate properly. Below that, I've seen the strangest symptoms. 2000 x .15 = 300, so you need to clear that drive out so you have about 300 MB free space. You'll see things improve then.
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I use a Reflexion Filter for doing work on-location, and I swear by it. I've tried out the Reflexion knockoffs, but nothing works at well.
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I checked out these companies during NAB Show 2013, and what I found was that CatDV has some serious bugs and is quite a bit behind in developing support for FCP X. Cantemo is a MUCH better alternative. Very aggressively keeping up to date with FCP X. IMHO, a far superior product.
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Because mechanically those are difficult things to "match" with ever variation of video and audio media content.
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Don't be silly. The social zeitgeist of the mass public's attention id cumulatively reaches an apex SQUIRREL!
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Yes, that is a nice find. Also know that when you are moving connected clips, the Shift key restrains to only up/down motions, allowing you to reorder the stacking of them easily.
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Works for me. I assume you're not trying to import a second movie, cause you can only import one. So it won't let you select your .mov file? What is the frame size and frame rate and duration? That's odd.
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Yeah, easy. Take the first frame of the incoming clip, export as a PNG, in Pixlemator (or Photoshop) crop out the van (or whatever) and isolate it, create your graphic. Then import that newly created PNG back in FCP X, where you'll put that as a connected clip above the outgoing clip, keyframe it to animate as desired, ending up in place on it's last frame, before the actual edit point.
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So, you run the installer app to install it. Then what exactly happens?
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2GB GPU will give you better performance for sure. Why? Because it is a more powerful GPU overall, and FCP X/Motion 5 rely on the GPU a great deal now.
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HHmmm... I just dealt with almost this same type of "juddering" with a Canon 7D. Getting faster cards helped. Also she was auto-focusing on the fly with a method we were told would do that for that specific camera make. I tend to doubt it is a shutter speed problem, and more of a sensor issue.

What are the specs of the card you're recording to?
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Too bad those frames are not in chronological order, nor relay the film's important moments.
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Copy and paste your script text to me (email is in my profile). Let me see how it looks. I'll report back here on the forum, just don't want anyone giving out personal info publicly here.
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How you import won't effect judder. Can you post a sample?

Without seeing it, off the top of my head, I'd say watch for pans, tilts and dollies that are too fast for the frame rate. Also make sure your camera cards are plenty fast enough and noting is over heating.

But yeah, I'd need to see a sample posted to really be able to tell for sure.

You could select your clips in the Event Browser (all problem ones at once), right-click them and chose "Analyze & Fix". Then have them analyzed for stabilization and rolling shutter. Open it from the Browser into a Timeline, switch on that function, see if that helps.
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Write up a bio about someone else you like in this industry.
Then substitute words that pertain to you.

Minimal is best, too. Let your demo reel and bio sell you, not the site's flashiness.
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Great update, and fast! My blog post about SliceX with Mocha has been updated! Those CoreMelt guys rock! You all will want to update to the latest Lock & Load to stabilize and track at the same time.
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If you only want to post music, SoundCloud is a great service. But I'd recommend posting music in actual video clips.
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I'm with Tom on this one. This is one of the huge advantages to creating Camera Archives of your cards. If anything goes wrong, File > Import > Reimport From Camera Archive, poof, saved! Good call Tom!
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Here is my article, Bombich Software approved, for doing just these things with Carbon Copy Cloner.
www.fcproxuniversity.com/FCPro_X_Univers...loner_For_FCP_X.html

You can also take advantage of Notifications in OS X to track your backups.
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Use With Lock & Load (updated 5/20/2013)

"To use SliceX with Mocha on a clip that needs to be stabilized, you will need to use CoreMelt’s own Lock & Load plugin, which out performs FCPX’s built-in stabilization anyway. Simply make sure that SliceX is applied FIRST, and that Lock & Load is applied SECOND. The two will work correctly together after that. Also be sure you download and install the latest versions of both."
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This Apple Script will make FCP X text message you via iMessage (Mac & iPhone) when an FCP X file export (Share) is finished.
www.fcproxuniversity.com/FCPro_X_Univers..._For_FCPX_v.1.1.html
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The "about" page tells us nothing about "you", just about your clients. Seems to be redundant to the "clients" page. Who are you, where are you, what is your experience, what special accolades do you have, what exactly do you offer?
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1st, are you making "Optimized" files when you import? If so, this is making ProRes files which are "normal" sized files, as opposed to the super highly compressed H.264 your 5D is recroding. But you can NOT optimize, editing the H.264 files natively and keep the small file size.

Next, when you export, export as Master File, and use H.264.

There is no need for MpegStreamclip in your workflow, if you do it correctly in FCPX. I don't understand why at the end you use "Quicktime conversion" (what does that mean?) to change what is already 720 to 720 again. That seems like a useless step to me, so I guess I need to know exactly what that is all about.

As for prepping them for the web, check this out.
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Something isn't set up properly.

Be sure Linking is enabled in the Timeline window.
Be sure the Audio Patch Tabs are in place in the Timeline headers.
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I'd not merge the disk images at all, just the Events, onto a normal hard drive first. Forget the disk images until then, they'll only cause you unnecessary grief.

Then, once merged into one Event, kill the old disk images, trash them.

If you need this new Event in a disk image, only after merging to a normal drive, create a new DMG from scratch and move the new Event in to it.

I've done this on very large Events, and never had any issues.
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Resolve for sure, especially if you have to deliver DCP, as Resolve can do that. I teach Resolve and find people pick up enough to use it powerfully in just a day. There are no go betweens, as Resolve will read FCPXML just fine. I'd ediit in FCP X native REDCODE RAW, maybe use Proxies if you must. But switch back to native R3D files when you export XML for the trip to Resolve. Resolve will pick up on the native R3d files and render out whatever you need. Plus Resolve LITE is free. Resolve 10 is going to be a huge game changer, thus learn 9 now, be ahead of the curve.
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Most people I know working don't have degrees. You need to find the small free jobs, and build on those to larger paid jobs. A demo reel goes further than anything else.
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You can, during export, specify to include or not include specific roles, too.

If you use the "V" shortcut to mute a clip in a Timeline, a standard export will not include it, it is muted in the export.
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I'd seriously look at Cantemo, also.
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1 - Show lens flares that in real life would indicate the natural lighting will BLIND people, realistically. So do it for effect, not realism, and not for any reason that adds (but subtracts from) the story.

2- Rip off every single line of dialog from previous films in the series, so that no character shows any growth or development, but rather de-volution.

3 - Make the ending titles interesting, but as monotonous as hell so your audience can't stand it.

4 - Disenfranchise true Trekies so we lose all respect for you.

5 - Disenfranchise all true filmmakers so we can see you for the no talent POS rip off artist you really are.
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Those developers now work for Adobe, trying to mimic FCPX.
AutoDuck is dead, period.
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Can you detail where you get this title clip from, and how you apply it to new timeilnes?
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That is not an echo, it is a reverb with a long release, but same thing as I described for an audio echo, just go to the "Spaces" collection and use PlatinumVerb. Place a Gap Clip to the end of the audio, make it a Compound Clip, apply the PlatinumVerb to the Compound. Or create a Hold frame (shift-h) from the last frame of the clip, and the reverb will last through the Hold frame.
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2 solid minutes, 400 words, that's some heavy titling. That could actually be some pretty fast reading for that specific title. But 24 hours, that's odd. I'm testing it now, and it is not taking that long to "render". I'd be sure I wasn't doing this off the system drive.
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I like using Disk Warrior, too.
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"I do hope Pixelmator improves PS import compatibility."

In what manner, specifically?
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Are you running 10.0.8?
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And read up, there are some things to watch for. I've got a blog post going up about it, that has some gotchas to watch for. But yes, it is really incredible.
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