|
mojo1701a posted:I use FCP as if it were Avid (ie. not doing things like shoving all the footage on the timeline and seeing what sticks). I'm referring to more of the technical side. I'm helping out a friend who's editor just bailed on him in the middle of production for a reality show pilot - when I opened up the FCP project, the timeline was a gigantic mess with clips on at least 10 video tracks, lots of 2-3 frame gaps with nothing in between, ripple transitions, out of sync audio and video, pointless speed effects (SLOOOOOOWMOOOOO for emphasis!), and probably a million other things that are horrible. I love working in Final Cut Pro, but people out there don't seem to know how to use it.
|
#
¿
Nov 26, 2010 08:46
|
|
|
|
| # ¿ Apr 27, 2024 15:01 |
|
|
I would recommend transcoding all the clips to ProRes (LT or regular) before editing.
|
|
#
¿
Nov 26, 2010 23:17
|
|
|
If you want your cuts to be frame accurate at all, you should definitely transcode to ProRes or any similar intermediate format. Working in ProRes will let you use some effects and transitions in real time without rendering (such as color correction or cross dissolves). Hell, unless you have at least a quad core machine, I don't think you could even play DSLR video on your FCP timeline without rendering.
|
|
#
¿
Nov 27, 2010 07:06
|
|
|
Has anyone set up a Compressor/Qmaster server before? I see old Powermac G5's running around for $200 and am tempted to set a couple up as clusters for rendering. Do you absolutely have to have a SAN to maximize their use, or can you just make sure that each cluster has a copy of all the media?
|
|
#
¿
Nov 28, 2010 05:00
|
|
|
Oh in that case, I could probably get away with an iMac + 2 Macbook Pros then. For some reason I thought you needed towers with some kind of fibre channel RAID setup. edit: vvvvv Yeah but I already have the laptops and iMac 1st AD fucked around with this message at 09:51 on Nov 28, 2010 |
|
#
¿
Nov 28, 2010 07:57
|
|
|
I do event videography, mostly for the local clubs and some magazines, and for some reason I see legions of unpaid videographers sporting 7D's or 5D's with 50mm primes even when they're impractical. Everyone talks poo poo about my HMC40, but I've paid for it several times over in 9 months of usage, and after something like 30 shoots, I've had a grand total of 1 client complain about image quality. I have access to 5DmkII's and a collection of fast primes, but they are really unwieldy to use in the types of shoots that are my bread and butter.
|
|
#
¿
Nov 29, 2010 08:11
|
|
|
Nothin' much Click here for the full 800x600 image.
|
|
#
¿
Nov 29, 2010 21:45
|
|
|
Can't you just throw them into Adobe Media Encoder and transcode to MPEG? Or even better, if you have access to Toast you can transcode to Apple Intermediate Codec for use in iMovie.
|
|
#
¿
Dec 11, 2010 00:23
|
|
|
Does anyone know what Facebook's bitrate cap is set at? I've tried uploading various flavors of SD and HD videos and it always looks like poo poo compared to the high-bitrate H264 video that I upload from.
|
|
#
¿
Dec 20, 2010 09:09
|
|
|
This will sound retarded, but goddamn where the hell has Color been all my life? Work is a bit slow at the moment so I just tagged along to one of my friends photo shoots, shot some video and really dove into Color's interface. Having RGB curves and secondaries with trackable masks really makes a difference in making as precise a grade as I want. One question I have though, is there any way to transform a mask shape as a clip is moving, or to manipulate the distance from which it's anchored to your tracking point from frame to frame? I don't see any keyframe tools in the interface, and that would be helpful when I'm isolating a moving object like someone's face.
|
|
#
¿
Dec 23, 2010 00:35
|
|
|
Excuse me sir, I make liberal use of the page peel, star wipe, and water ripple transitions, I'd like to see Griffith's editor do THAT 
|
|
#
¿
Dec 30, 2010 22:29
|
|
|
Why not just get used to looking at the EVF + waveform/vectorscope?
|
|
#
¿
Dec 31, 2010 05:00
|
|
|
Not sure about their consumer line, but Panasonic's prosumer AVCHD cameras all come with a Windows app that will convert AVCHD to DVCPROHD. And if you want to edit AVCHD natively, I think you need 4 or more cores to be able to do it in real time
|
|
#
¿
Jan 1, 2011 20:34
|
|
|
Ah yes, let me refer to Expertvillage for all my questions about the movie business.
|
|
#
¿
Jan 3, 2011 19:58
|
|
|
EnsGDT posted:*starts with master shot* Hey, this isn't the RedLetterMedia reviews Episode 3 thread.
|
|
#
¿
Jan 4, 2011 02:21
|
|
|
I have never been a 1stAD, in fact my name stands for something dumb that I came up with when I was a teenager and only later I realized it also had a real function in filmmaking. I spent 16 hours setting up and moving and breaking down c-stands yesterday 
|
|
#
¿
Jan 4, 2011 04:40
|
|
|
Yep. There are no "cheap" MiniDV decks.
|
|
#
¿
Jan 5, 2011 23:54
|
|
|
Why look for an HV20? If you go on Craigslist you can find all sorts of standard def MiniDV camcorders going for cheap.
|
|
#
¿
Jan 6, 2011 08:31
|
|
|
Is there a glitch in the way vignettes are rendered in Color? Every time I try to add them in the ColorFX room, they render with the vignette only (no alpha). Everything looks fine when I'm in the ColorFX room, but as soon as I navigate to a different clip and then nav back, I get the vignette only again. At that point I'll click on the vignette node and then the cycle repeats itself... This is annoying because I think the vignettes in Color look way nicer than the ones in FCP, and I hate to render stuff in Color and then re-render in FCP. edit: I had a chance to play with a friend's system with Colorista installed - why is this popular again? I find it much harder to work with the 3-way wheels in Colorista instead of using curves in Color, Premiere, or After Effects. 1st AD fucked around with this message at 05:30 on Jan 19, 2011 |
|
#
¿
Jan 19, 2011 05:28
|
|
|
 I don't know why I didn't even think to do that - I always use custom shapes and trackers in the geometry room to apply to secondaries, but somehow just using it as a vignette never occurred to me.I are dumb.
|
|
#
¿
Jan 19, 2011 10:01
|
|
|
Honestly, I never go any higher than ProRes LT on footage that was originally from a DSLR or AVCHD camera. If there are benefits to 444 I've never been able to spot them in that type of footage.
|
|
#
¿
Mar 30, 2011 07:04
|
|
|
http://www.blackmagic-design.com/?heroNum=2 Two things: 1)Blackmagic Hyperdeck Shuttle: A portable 10-bit HD-SDI or HDMI recorder for $345 (SSD not included) 2)DaVinci Resolve Lite will be free, available for download in July. Holy poo poo why do people keep making things I want to buy
1st AD fucked around with this message at 20:09 on Apr 11, 2011 |
|
#
¿
Apr 11, 2011 20:01
|
|
|
Is there a Final Cut filter that emulates the effect of a graduated ND filter in Adobe Lightroom? Been taking a lot of still images with my SLR and that's the one tool I really wish had an equivalent. I know in Color I could add a rectangular mask under secondaries and then apply a vignette to that, but I was looking for something I could play with within Final Cut without having to bounce the project to Color.
|
|
#
¿
May 12, 2011 18:33
|
|
|
Yeah I figured it would be something that simple, thanks!
|
|
#
¿
May 12, 2011 19:12
|
|
|
Gunjin posted:Also if you can learn any of the color grading or motion graphics software, those open more windows too. My personal project for this year is to teach myself Color. I've heard that Apple is abandoning development of Color, so you might want to learn something like Resolve. I think the free version of Resolve comes out next month, so you can get your feet wet without spending cash on the software or the interfaces.
|
|
#
¿
Jun 21, 2011 01:51
|
|
|
Are there any substantial under the hood changes to Compressor? It looks exactly the same, no UI overhaul or anything...
|
|
#
¿
Jun 21, 2011 19:25
|
|
|
Anyone working with MC5 on Mac? I'm just diving in and trying to figure it out. Where can I change the display preferences? My primary monitor sits on the right and my secondary/preview display on the left, but Avid seems to default to the opposite. I've been trying to dig through the bin for the right setting, but everything is so alien to me right now.
|
|
#
¿
Jun 22, 2011 08:48
|
|
|
Yeah but I can't get the full screen preview to play on the other display, is there a way to route the output?
|
|
#
¿
Jun 22, 2011 18:02
|
|
|
You want to import from file or whatever it's labeled - they changed all the terminology in this release, import from camera is what log and capture used to be.
|
|
#
¿
Jun 22, 2011 19:22
|
|
|
At the moment it seems to be geared towards people with really simple workflows (e.g. prosumers). Ignore the fact that you can't OMF or XML at the moment, what really bugs me is the inability to have multiple projects or sequences open at the same time. I'm sure the intention is for you to rely on metadata to manage your media and projects, but for me it totally messes with my ability to quickly deliver multiple videos with shared elements. I guess I could just copy/paste, but a lot of my stuff is render heavy and in FCP7 I could render an element once and then nest it in multiple sequences.
|
|
#
¿
Jun 22, 2011 22:33
|
|
|
Yeah, if you still want to purchase FCP7 your only bet is to order it from some retailer and hope they have enough stock on hand.
|
|
#
¿
Jun 24, 2011 20:49
|
|
|
I don't think any NLE will give you that kind of precision when it comes to audio - the smallest increment you can edit with is 1 frame. If you need more precision, you need to bounce your project to a dedicated audio editor.
|
|
#
¿
Jun 27, 2011 05:54
|
|
|
Is this video that's transcoded within FCPX? Because I have some clips that were ingested from FCP7 in a current FCPX project and they work in After Effects CS5. I also don't see any evidence that the clips were modified (going off the date modified field in Finder).
|
|
#
¿
Jun 28, 2011 01:59
|
|
|
Has anyone really dove into FCPX's interface? I'm using it on a small project right now and it is SUPER frustrating. I don't know how people can call this iMovie Pro - I would much rather be using iMovie! The thing that confuses me is the whole "storyline" business. It looks like to get any kind of normal editing tools like ripple/roll you have to nest your clips in a storyline? How do I link multiple video/audio tracks into an existing storyline? Every time I try it just seems to displace things on the timeline. And once I'm there, I'm still not sure how to toggle between slip/slide and ripple/roll.
|
|
#
¿
Jun 30, 2011 04:25
|
|
|
Awesome, thanks! Now for a different question - I have a client who wants content delivered over these: http://www.corndigital.com/products/digital_signage/ceres-88v.html Thing is, I don't have access to a good MP4 or WMV9 encoder, so I'm scratching my brain as to how to deliver footage. I could do MPEG-2, but I'm not sure what bitrates would be optimal for 720p footage. Anyone have any ideas here?
|
|
#
¿
Jun 30, 2011 18:07
|
|
|
Should I limit the bitrate/frame size on the h.264 before doing the passthrough? According to the MPEG-4 wiki the L5 profile has a max bitrate of 8000 kbits/s at an SD resolution.
|
|
#
¿
Jun 30, 2011 20:00
|
|
|
The HV30's implementation of 24p is really atrocious and you shouldn't use it, and there are no flags set on the tape that tell your NLE what fields to throw away either. Not the same at all as the 24f mode on the XHA1.
1st AD fucked around with this message at 16:47 on Jul 11, 2011 |
|
#
¿
Jul 11, 2011 16:45
|
|
|
bassguitarhero posted:Anyone have Compressor 4 and figure out how to put on JUST an H264 conversion? Compressor 3.5 had a great H264 for intranets/LAN preset but I have Compressor 3 & 4 at home, neither of which has that. I'd be happy sticking with 4 and just dropping on an H264 preset then changing it, but they removed the regular H264 preset as well. Right now I'm going to 4 to convert to PreRes 4444 for stuff out of after effects, then switching back to 3 to export to H264 to send to client. Ridonculous. I just copied the settings from Compressor 3.5 as best I could: http://www.2shared.com/file/7P9y3cIT/H264_LANsetting.html Just unzip, then drag and drop into your custom settings bin.
|
|
#
¿
Jul 11, 2011 22:46
|
|
|
AIIAZNSK8ER posted:Ok, cool, well that's a little annoying. I was hoping to mix stuff from my D90 and camcorders and thought it would be easier than this. I'm really starting to feel for you video guys. If you have After Effects you can remove the pulldown correctly without any extra plugins: http://www.hv20.com/showthread.php?22711-After-Effects-24p-Pulldown-Removal-Easy-as-PIE!!
|
|
#
¿
Jul 11, 2011 22:50
|
|
|
|
| # ¿ Apr 27, 2024 15:01 |
|
|
Huh, apparently Compressor 4 will open Compressor 3.5 projects and render them. Not sure why you would want to do this since there's apparently no difference in performance between the two, but there you go.
|
|
#
¿
Jul 12, 2011 06:13
|
|