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mayodreams posted:I asked my co-worker and he wants to know if you exporting from Final Cut in h264. He said that is a known issue because everything becomes washed out. Nope, the footage was originally in H264, I converted to APR 422 HQ, then import and edit that in Final Cut. I'll export from that to Quicktime and import into AE, then export Lossless. It was originally H264 but it's APR when I edit it, and I don't think FCP does anything to it when it exports but I'm not sure.
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Sep 17, 2011 04:21
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I export lossless then compress in media encoder or compressor to a format that I can play back. No need to deal with uncompressed hd footage aside from sending it to another format you can work in. Unless you're shooting lossless, there's no point in trying to work with it as such.
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Nov 22, 2011 21:14
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You can buy sticker sheets you can print on that will peel off and go on DVD faces. You could even take them to Kinko's for a quality print job on the stickers if you want the extra quality. If you have a friend that works at a company that has a DVD duplicator/printer then you might be able to get a hookup that way. I've worked at small film houses with DVD duplicators and printers and doing a run of 100 isn't a big deal that could be set up in off-hours to run on the cheap.
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Dec 6, 2011 17:44
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Does anyone have some advice on getting rid of the moire that's screwing up this shot (right around 0:50)? It's a line-drawing given to me by an artist, so I'm not sure how best to deal with it. I brought it into After Effects, did a lossless render, and I don't see the moire in FCP or the quicktime file when I export it, but I get it when I compress it. I've tried putting some blur on image to try to fix it, but that didn't work either. I know it's the thinness of the lines but I'm not sure on the best way to proceed to knock it out. http://vimeo.com/33408938
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Dec 10, 2011 02:00
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Interesting... I just re-rendered the compositions, added a slight bit of blur and then dragged the animation-codec lossless file that after effects created right into FCP, and that worked. I must have been dealing with something carrying over from an older version, although I'm not sure what.
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Dec 13, 2011 06:18
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RaoulDuke12 posted:I guess what I could do is output an uncompressed 1080psf, throw it into AE, do the pulldown, (or ditto with compressor), then pull it back into FCP at 59.94 for the QT ref. This is what I would do. A little extra work, sure, but would help squeeze a little extra quality out of the vid.
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Dec 30, 2011 18:57
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Anyone know about Adobe's licensing? I have after effects cs5.5 on OSX. In order to do this HDR video merging, I need to use a windows-only plugin. I installed XP last night in VMWare and would like to install AE so that I can boot the VM, merge the footage then return it to OSX So I can edit but I'm not sure if my license will hold up.
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Jan 3, 2012 21:07
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drat. Oh well, guess I'll get the Premiere trial and give it a whirl. I figure I should probably know it anyway, if Final Cut is gonna continue to be in the shape it's in. EDIT: gently caress, the premiere pro installer is bitching about my XP VM not meeting system requirements for installing. What a pain in the rear end, I hope there's some way to fool it. All I want is to use this GingerHDR plugin to merge footage. I could boot into bootcamp and install Premiere Pro and do it that way but rebooting every time I want to transfer footage is such a PITA. Is there a way to get an older version of Premiere for testing or am I just pretty much out of luck when it comes to running Premiere in a Virtual Machine? bassguitarhero fucked around with this message at 19:29 on Jan 4, 2012 |
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Jan 4, 2012 07:26
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It's the plug-in. I have after effects so I would just use that. I can boot into windows 7, it's just that I'm normally multi-tasking so going into windows proper means no side stuff until I'm back in OS X. Not the end of the world, just enough of a motivation-killer to make me wait til they release a Mac version.
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Jan 7, 2012 00:38
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Teenage Fansub posted:Post supervisor just told me to put all the AMA'ed parts in one bin first, then they'll consolidate as one. I haven't tried it yet. This works for Final Cut and spanned cards. I copy them all to one drive, then go into Log and Transfer and then keep adding them to the Transfer window and it'll auto-span the cards. I'm sure Avid will go the same way w/ their import process.
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Apr 2, 2012 18:29
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I did all my FCP7 updates through software update, not the app store. Im still on snow leopard tho, so I'm not sure if ML has that function still
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May 7, 2012 17:22
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Could it be that the QuickTime movies are reference files? When you export from final cut then you're given an option to make the movie "self-contained" ie it embeds all the media into one file, but if that isn't checked then it creates a reference file and the original files are elsewhere.
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May 12, 2012 00:14
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Your footage looks cool, I was going to say before I read your edit, AE animation is primarily a numbers game so if you're working with scale, all you need to do is get it working on a small comp, then build a new one just using math to figure out your camera positions without needing to re-watch it all. You can also lower the output resolution from "Full" to maybe a quarter or something, that would help, as well as changing from displaying the frame to displaying wireframe to do your camera movements. If the computer's really bogging and you just want to check camera moves, wireframe is a big help. I don't know if this would work in your particular case (don't have time to check) but you might also try pre-comping your images at the smaller resolution, then going into that comp and swapping it with a higher-res image. That might scale just as well. Last but not least, when you're happy and ready to export, be sure to go into your camera moves and set your keyframes to "ease" (F9 key, also duplicate your comp before you do this), in the youtube video you had a keyframe change from moving to the side to pull back and without the "ease" the camera just hard-starts in new directions, but you want to smooth that animation out so be sure to set your keyframes to ease before you render.
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May 19, 2012 17:55
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A film festival I'm working with is getting ready to launch, we're in the process of authoring the chosen films to digibeta for projection but I have a question. A trailer we received was not formatted for title-safe, it is 16x9 but the logos go outside of title safe so when I was printing it to minidv, the deck was cutting off the logos. I had less than 20 minutes from the time I received the trailer until I had to send the tape out for conversion, so the only thing I could think to do was produce two tapes, one at full frame and one at 90% to put everything in title safe. Does it matter one way or the other? Will the theatre likely project the full frame without cutting off the logo or is better to use the title safe version? I told them to test both but I can't get more technical info so I don't know what to expect.
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May 21, 2012 22:46
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RaoulDuke12 posted:Most projections and modern TVs display at least to action safe, so it'll probably be fine even at the full frame one. If not, that's kind of the submitters fault for not conforming to guidelines, isn't it? You went above and beyond what I would've done, at least. I found out this morning that yeah, the full frame version did come out OK as the entire image was projected, but there's currently another event where they're using a TV, so they've been *really* glad I gave them both versions.
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May 23, 2012 05:21
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Just tell them you appreciate the time to work on it but you have other commitments and you can no longer donate the time to the project. If they're really committed to finishing with you then they'll find a budget. If not, you've lost nothing other than time. They'll be pissed about it, for sure, but what are they gonna do? As long as you're graceful about your exit then don't worry about burning any bridges. No one's gonna take a bunch of people seriously who are complaining about free help deserting them when they go around belly aching about all of it. If you do good work and your clients like you then you've got nothing to worry about from walking away from a bad project.
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May 25, 2012 02:28
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If you're first learning non-linear editing, I find the blade tool to be one of the best ways to first understand how editing works. Keyboard shortcuts are great for speeding up your work, but non-linear editing is a very abstract concept to a lot of people at first, and it takes a while to understand the basics of how that works. When I teach editing, I start with the blade tool and hours of dragging and dropping. Then when they've made and cut something, I tell them, "Now let me show you three-point editing," and they love it.
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May 25, 2012 16:18
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Buy an extra hard drive, if that 500GB is internal then you don't want to be recording to the same drive you're using for an OS anyways, and even if it's an external, the compression rate you need to be using to get a smooth screen capture is going to take up a lot of space. It's better to have extra space in bulk than try to play tetris with files in the middle of a recording session.
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Jun 2, 2012 01:13
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So I just finished the festival trailer for the Frameline Film Festival in San Francisco. This was sort of a last-minute thing that came through (the trailer took me about a week from start to finish) but I was really glad to be a part of it. It went live today, and the festival kicks off on Thursday. This was done almost entirely in After Effects: https://www.youtube.com/watch?v=fvmIW1eooJI Also, while I'm posting, I also did this trailer, which is for a program I work on regularly, called Frameline Voices: https://www.youtube.com/watch?v=bKzvTmCwJq4 The music for this video was done by fellow goon, Gibberish. I found his soundcloud in the Musician's Lounge and asked if I could use one of his songs in the trailer and we got it all worked out. So, if you guys are looking for music for your projects, definitely check out ML. The music for the festival trailer was done by a local group called Easy Street, and I met them through a show because another goon, Rivensbitch, was doing a lot of work with them for their live shows. Everyone at the festival is really pumped about the trailers, this will be the first stuff I've made that I'll see on a theatre screen, and it's pretty awesome I was able to enlist the help of goons to make it happen.
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Jun 13, 2012 01:04
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Yip Yips posted:Here's a super-vague question - Why is Premiere taking 21+ hours to export an 81 minute 480 x 360 video? I'm using the H.264 Vimeo SD settings, except with the resolution changed from the default 640 x 480. It depends on the codec the original video is on vs what it's going to, what kinds of effects are on the video, what kind of cutting is going on, how fast the hard drive(s) the footage is on can be read from, how fast the hard drive it's writing to can be written to, what other OS stuff is going on, etc etc. But for an 81-minute video, although you're not pulling from a very complex starting composition (640x480), 20x slower than real-time isn't *too* bad. I have a music video I was working on that was 2.5 minutes and needed 18+ hours to render from After Effects. But there was copious amounts of green screen, tons and tons of different background plates, plugin filters that were used to connect the shots, a lot of animation done in 3D, etc.
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Jul 8, 2012 18:22
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Can you loop the clip, or play it forward then reverse it to extend the length, or slow it down? There's a lot of tricks to save a shot even if there's a couple of bad frames
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Jul 11, 2012 21:17
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Got a free copy of Final Cut Pro X through work, can't wait to dive into it, but I can't install it because my video card isn't good enough. Got a Radeon HD 4870 but I took the fan off to clean it out and need to add thermal grease to it to stop it from overheating when I put it back in. I'm about to fly to El Salvador and shoot a documentary, so when I get back I'm gonna fix this all up and try to learn FCPX and using it to cut my new movie. Everything trying to get prepared for this film has been a big ol pain in my rear end, so I'm hoping that means the movie will be great. If nothing else, I should at least be able to offer FCPX services by the time this is done.
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Jul 13, 2012 17:12
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So if I'm editing in FCPX there's no need to convert DSLR footage to APR 422? I mean if the render engine is an issue then I'll do it anyway, but if it saves time and space then I'd be happy to get that advantage.
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Jul 13, 2012 23:42
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Rickety Cricket posted:I'm going to be making recruiting tapes for high school athletes and they've started requesting songs, so I thought I'd ask here if anyone knows what the policy is on using copyrighted material as far as songs go, versus royalty free music. I've seen another company use copyrighted songs in their videos, but I don't want to just do it and then get hosed. Can anyone touch on this subject? Don't use them, especially if you're making promotional materials. If someone at a label gets wind of what you're doing, they can sue you for hundreds of times the amount of money you've actually made doing it. There's a lot of great royalty-free stock music you can purchase if they have a particular feel and style they're going for. Try asking the students for "musical inspiration" if they want a particular tune, if you want to go that far.
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Aug 3, 2012 22:19
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Didn't know where else to put this, but here's a trailer I directed for an upcoming video game called "Minion Master," from BitFlip Games. This was a bit of a crazy edit since I shot & edited the live action footage then sent it to the gaming house where they finished it up and did the graphics, but I think it came out pretty nice. The game is pretty fun, too. https://www.youtube.com/watch?v=kWtlTLZxZdo
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Dec 6, 2012 00:06
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I'm currently doing a trailer for the film festival I work at, and I'm animating the whole thing in After Effects. My main concern is output - I've discovered the animation is smoothest at 60fps, and my compositions are at 1080P, will I be able to output that to Digibeta (SD) and have that project smoothly? Last year I did it at 24fps but this year I'm using a lot of hand-drawn assets and they tend to look jittery at 24fps, not so bad at 30fps but it looks great at 60. Will I be able to make a 60fps Digibeta output that'll project well? Or should I start looking for alternate framerates?
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Apr 2, 2013 04:37
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The Frameline37 festival trailer went live today: https://www.youtube.com/watch?v=TphNXQr8MkE I did the whole thing with a combination of hand-drawn assets and loads of After Effects. So far it's getting great reviews. Music is by local band Easy Street which includes goon Rivensbitch
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May 21, 2013 22:33
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Are there any recommendations for good FCPX learning tutorials? My work gave me a copy for free but I spent about 5 minutes in it before I decided to go to premiere instead. Now that I have to pay monthly to use premiere I'd be happy to use FCPX since its free if I can just get my head around the interface
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May 25, 2013 16:52
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Does anyone have access to a production-level monitor or projector? I have these credits I'm trying to finish off for a client and she's complaining about flickering, and I'm pretty sure it's just her watching them on a computer screen. But I don't have a production monitor or a TV to check the credits on, so it'd be really great if someone could have a look at them and let me know if there's any flickering. https://dl.dropboxusercontent.com/u/7872373/BrunoFilms/Credits-12_13.zip I did them in two different flavors, one is bolder than the other, but I think both should play back fine. I told her they'll look bad on a computer monitor but I just can't verify if they play back fine on anything else. I used a script to make sure they don't move more than 2 pixels a frame, so I'm pretty sure it should look fine. Any help is appreciated.
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Jul 3, 2013 15:59
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I'm working on a web app for documentary film makers, a license & assets-managing database for archival material, which came to me after dealing with moving a 300+ megabyte database back and forth with an editor. This gives you a web interface and you can add collaborators to your project so other people can do archival research and share links to entries instead of managing the entire file. I've gotten a version of it working online so I'd be interested in filmmaker feedback on how it works, if it works for them, or things I can do to improve it. I have additional features in mind but this is the essence of the site now. It's up at http://filmeditdb.herokuapp.com
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Aug 18, 2013 06:23
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RaoulDuke12 posted:Do people actually hire assistant editors any more, or should I just expect all my projects from this point forward to be a hard drive with 2000+ unlabeled, untranscoded, unsynced shots? I've been working as an assistant editor on my first feature-length doc, this is in SF, but the filmmaker and the editor are both pros and know what's up, so that helps. Producers will skimp on every cost that they can, but if you're going to be dealing with 2000+ unlabeled untranscoded unsynced shots, you need to talk to the producers and tell them how much it's going to cost you to get that up and ready vs what it'll cost to hire an assistant and have them do it. Of course up here in SF a lot of this work is getting dumped on interns now. I'm pretty lucky that I've been spending the last couple of months doing this and getting paid. Tedious as hell, but it's taught me a lot about editing feature-length docs, and inspired me to build the documentary database. In general, though, I think a lot of the market is bottoming out so your producers will probably lean on you to hire someone unpaid to do it, or hire someone and pay them out of your own pocket, because they probably won't pay if they don't have to. I did a shoot at eBay HQ a couple of years ago and I had to haggle with the producers until they finally agreed to split the cost with me of hiring a cameraperson/AC. I had to pay half! It's ridiculous. But they don't care. People will accept lovely quality these days, and no one wants to pay to have it done right.
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Aug 25, 2013 02:50
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I went to a four-year college and majored in cinema production, and I learned a lot about every level of film production and networked a lot with other students and learned how to hustle to get jobs. Those are all important to making a career as a filmmaker, as opposed to just making films. I went to SF State and a couple of my professors introduced me to other film professionals in the city, which is how I've managed to stay and make a living in the city as a filmmaker, but you still have to hustle. I've learned far more about filmmaking since leaving college, how to use certain cameras, editing tricks, how to run a set and hire talent, etc, but the basics came to me through college. You don't need to go to college to learn this stuff but getting into some kind of film makers group is vital to networking with other people who make films and learning from them.
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Oct 12, 2013 00:54
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Also one thing about ProRes vs H264 is getting the extra bit-space from being 10 bit vs 8 bit. Effects on the footage will look better due to better color space and extra floating-points for calculating the changes your effects have on the footage. For example, an 8 bit file has one decimal point place for adjusting opacity when cross-fading, whereas 10 bit footage has 3 or 4 decimal places for measuring opacity, which gets you a cleaner look with less distortion and blur.
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Nov 12, 2013 22:30
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I'm sure you could find somebody with plural eyes installed who'd be willing to run it on the footage for $25 or $30
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Dec 19, 2013 08:59
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There's a trial for plural eyes that might do everything you need without having to pay. Although syncing just a few clips also is no big deal, what I do is typically mark a point at the first recognizable sound in the clip, then mark that same sound on your master timeline, then drop the clip in and line up the two markers. From there you're normally only off by a couple of frames and it won't take long to finish. If you're just doing it a few times you can get pretty speedy at it.
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Dec 20, 2013 21:38
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Brown Moses posted:I don't know if this is the thread to ask, but I'm looking for some pretty simple advice on editing some YouTube videos I've downloaded together. I'm doing presentations using YouTube videos from Syria as examples, and I want to edit a few together. Easy enough on Windows Movie Maker, but the source files tend to be different resolutions, so how do I go about upscaling the low resolution videos so they don't appear in tiny boxes when they've been edited with HD videos? I would look at using something that can batch convert videos so that you can export multiple videos to all be the same resolution, frame size, frame rate, etc. Something like http://winff.org/html_new/ (i just googled "batch video converter windows") could probably do what you want to do - pick the frame size you want to work in (720x576 for SD PAL, or 1280x720 for HD), and then export all your videos to that. Then you don't need to play around with it in your editor.
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Jan 27, 2014 20:32
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You want to edit over Thunderbolt where possible. Firewire is second best to edit off of if you have a Macbook Pro with firewire. USB is next as you can't run more than one 1080 stream over USB at once. I wouldn't even attempt to edit over network/ethernet. My credit card number was stolen when Adobe got hacked last year, which gave me all sorts of headaches so I've been avoiding Premiere Pro for a while but hoping I can find a used version of CS6 on eBay so I don't have to give Adobe another credit card number while I try to finish my movie.
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Feb 22, 2014 16:14
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IIRC you can make clickable links within QuickTime videos. You might be able to combine a QuickTime video with a transparent overlay using CSS to get your results
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Mar 13, 2014 14:31
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Does anyone know about conforming video for iTunes and Netflix? We have a film collection that we're pushing to get on those platforms, and the distribution company we're working with told us to send the files to a canadian company called Juice to conform for the platforms. Juice however keeps emailing us and telling us the audio is in the wrong format and they're going to charge us more to convert the audio. Their complaint is that the audio is in dual mono and iTunes/Netflix only takes audio in stereo. Working in Final Cut and Quicktime, I exported the audio from the films as stereo and reimported them back into Final Cut and replaced the audio, my format settings say that the audio is stereo, the timeline settings say stereo, the get info for quicktime says it's stereo, but the company complains that it's still dual mono and they're going to charge us more. Of the 7 films we sent, one of them was fine but the other 6 were not. I can't seem to figure it out and they won't explain to me what the actual problem is other than "it's dual mono"
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May 1, 2014 15:28
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RaoulDuke12 posted:Just to clarify, it says "stereo" in both these places? Thanks for the tips on this - they finally sent over a sheet of instructions on how to convert the audio to their spec, which was essentially, "Set your sequence settings to dual mono then set each track to its own audio output" which wasn't a stereo downmix at all, but just separating it by track. Then again they spent 3 weeks going back and forth with me on one film having "duplicate frames" and me not being able to fix it until they finally sent me a clip of the problem section wherein I realized that the duplicate frames they were complaining about was because the film was *animated* and the animator worked at 12fps and doubled them because that's what you do. The whole thing has made my head hurt. Anyways, while I'm here, I just finished the trailer for the SF International LGBT film festival, it's up here https://www.youtube.com/watch?v=iOHZbm0Ql-k with music from fellow goon RMNC. Hoping to get George Takei to share it since he's in the trailer and coming to the festival.
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May 21, 2014 15:54
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