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Nope. One old trick I used was to open a .txt file into FCP's Viewer, type notes there, then copy over to Word or TextEdit.
by derekmok
- Café LA - X
This is a job for a professional. I think there are ways to redraw the waveform peaks in Pro Tools to alleviate this kind of problem, but that has its limitations as well. A compressor/limiter will only clamp down on levels; it will not correct the distortion. Usually you're looking at ADR. If ADR isn't possible, you can make it less harsh by taming the upper mids and trebles.
by derekmok
- Café LA - X
> I watch it as it captures and the audio sync seems to be fine
That's not useful. That only means the audio on the tape is in sync, because at that point you're not listening to the captured clip, you're listening to the playback from the tape. But that's a relief, means the problem is not with the master footage.
> but after it's done capturing I place the long clip on the time li
by derekmok
- Café LA - X
If you don't have the codec, no conversion program will read the files. I found a link or two online for converters on a Windows platform, but I didn't notice anything for Macs. Do a Google search. But I don't know why you'd want to convert to AVI files. That's an ancient wrapper format, and if you were trying to burn video DVDs, those files wouldn't work, and would necessitate yet another ro
by derekmok
- Compressor - Media Compression and Conversion
> I had to burn my project in dvd studio pro in SD 16x9 format and then it looked like crap on my HD tv? I need to be able to play the video/dvd in a
> theatre.
Well, depends on how you define "looks like crap". Burning the DVD yourself will never yield pro-looking results (they pay people a lot of money for proper colour correction, mastering, etc.), but it should be passab
by derekmok
- Café LA
> converting the frame rates means moving inextricably away from your camera original.
Indeed. You need to think this through. Because if conforming frame rates is your decision (usually a good idea), you may want to think about doing the conversion at a post house, which usually results in better quality. You are, for all intents and purposes, creating new masters, and you may not neces
by derekmok
- Café LA
"Better" isn't always better. I suspect if you tried to upload a 2.5GB file for a three-minute piece, you'd get all kinds of hiccups in playback, inhuman download times, and so on.
Stop using the presets ("Best", "High" etc.) and start controlling the numbers yourself. You need that precision, and you need to do that for a while so that you know exactly what set
by derekmok
- Café LA
I usually use MPEG Streamclip, whose interface is much simpler, but Compressor offers you
I'm not a compression expert, but I know enough to do what I need to for editing and client-interface purposes.
In Compressor, access the Settings window for the easiest way to see your presets. I rarely use Apple's own presets unless I'm making a DVD. In Custom, start a new preset (the + button on u
by derekmok
- Café LA
Learn to control your bit rates, multi-pass options, etc. 2GB for three minutes is way overkill. Are you sure you don't have miscellaneous items in your editing timeline after the end of picture proper, say a single frame of junk footage 90 minutes after the end of the last intended frame?
by derekmok
- Café LA
You did do an Audio Mixdown while rendering, correct? (OPTION-COMMAND-R) Even Render All doesn't do a complete render of audio until you do Audio Mixdown.
H.264 is about as standard as it gets these days. As for whether it's good enough, H.264 is just a codec. Without knowing what your bit rate and other export settings are, I can't tell you what your result will be.
> Or how about j
by derekmok
- Café LA
What are your export settings?
I'd try exporting the movie file with current settings (Export - QuickTime Movie, not Export - Using QuickTime Conversion) and then doing the conversion in Compressor or MPEG Streamclip. Those applications get better results anyway and don't tie up your FCP.
by derekmok
- Café LA
FCP versions 4 to 7 have long been plagued by problems with audio rendering where the timeline gets confused and links to the wrong file entirely, or gets stuck on an old/incomplete render despite recent changes. That'd be the first thing I suspect. First ditch your render files (Tools - Render Manager) and re-render. If that doesn't fix it, take all the audio files in that section, take them
by derekmok
- Café LA
FCP Text objects don't have a set size. When you run Media Manager to create a larger Sequence, the text is supposed to automatically readjust. But if a 2K online is in the running, you really should be creating titles that fit that scale, and FCP7 ain't the place to do it. A simple Illustrator/Photoshop job.
by derekmok
- Café LA
> My question regarding the naming is because when one opens
> the project file on the backup drive, it will result in media off line
> because of the difference in the title of the main drive.
If your media management is on point (ie. no duplicate file names), this should not be an issue. Files that can't be renamed to an editing-friendly management system (eg. camera masters wh
by derekmok
- Café LA
Upload to an FTP site and then paste the image URL in.
by derekmok
- Café LA
One single file? Sounds unlikely. Are you looking at the "file" or the "folder"? I haven't used this camera, but Canon AVCHD cameras often have a file system like this:
- AVCHD - BDMV - Stream -
What exactly does your file system look like? Post a screen capture if you can.
by derekmok
- Café LA
Just go into the Stream folder and take out the .MTS files. Just be aware that the other side will not be able to use Log and Transfer in FCP7 because that requires the entire file system from the original memory card to be intact. However, there are tools and newer editing software that can handle single .MTS files.
by derekmok
- Café LA
This is a Dolby Surround file -- gotta watch out for your resave options so you don't end up mixing everything down (which I think MPEG Streamclip may do -- but I'd be happy to be corrected if I'm wrong). Might want to try using Soundtrack Pro or Pro Tools for the task. Or, get the mixer to export each track individually.
by derekmok
- Café LA
> Now have a finished 52 min film. When I try to Export it as self contained file with
> Apple ProRes 422 1920/1080 or with current settings, I end up getting 22 files each of
> 2.05 GB and one finished film of 2.05 GB. The individual files say QuickTime Files 2.05 GB on Disk with Name and Extension Film-av1
Looks like either your target export drive is misformatted, or you have a
by derekmok
- Café LA
> I searched the whole FCP7 User Manual for "disconnect" before offering that renaming way!
SHIFT-D. Or File -- Disconnect Media, Leave All Files on Disk.
If you really want to reconnect files one by one, you can still do it. Go into Keyboard Layout (OPTION-H), set a shortcut key for Media Reconnect, and then hit one clip at a time.
> Just uncheck "matched name and
by derekmok
- Café LA
> Then return to the latest project and try disconnecting all media and reconnecting them. I have done this by changing every filename -- prepending an 'x'
> using NameChanger -- and then reconnecting.
That's unnecessary. Just select the clips and press SHIFT-D (Disconnect Media). Renaming the files will cause them to fail to reconnect automatically. Yes, you can change the names ba
by derekmok
- Café LA
There are still a lot of possibilities, unfortunately. What storage are you using for your media? When was the last time you ran diagnostics on them (eg. directory repair)? Normally this isn't a cause for the problem you're describing, but if FCP reaches for one file and ends up with another, perhaps there is fragmentation or the directory's jumbled. Drive diagnostics are easy to perform and
by derekmok
- Café LA
> I've ingested the shots as HDV and the timecode is shown in the browser. This is the format I have used for many projects. How would I tell if they didn't
> actually *have* timecode?
If the numbers don't start at 00:00:00:00 on every clip, then theoretically speaking the clips have timecode. Some formats are wonkier than others, however, and HDV is definitely one of the wobblier on
by derekmok
- Café LA
> when I created a New Sequence (to try and split up the long timeline) it defaulted to DV.
That's what Sequence Presets default to. If you want it changed, go into Final Cut Pro - Audio/Video Settings and change Sequence Presets. Changing the setting for one Sequence only changes the setting for that one created Sequence; it does not change the default preset. To avoid this problem, cre
by derekmok
- Café LA
> the shot that is being erroneously displayed definitely does not share a time code or a name with the shot that should be displayed.
But do the shots *have* timecode? Were they ingested into a good intermediate format for editing? This kind of thing happens the most with H.264 media and I haven't heard of HDV having this issue, but with the myriad of formats out there, I wouldn't rule i
by derekmok
- Café LA
Did you convert to ProRes before editing? Sounds like your clips don't have a real timecode track. Also check all files for illegal characters in the file names, and to confirm that all files have unique names. This problem also tends to be more frequent after rendering -- are you editing in the correct timeline settings for the clips?
Forget the project file size. If your editing system c
by derekmok
- Café LA
> What's fishy here is that the 15.7 MB Autosave occurred on schedule 30 minutes after the 16.1 MB Autosave, so FCP7 wasn't closed between but had
> flushed out 0.4 MB worth of editing. It did save the lost stuff and then didn't save it.
Normally the number-one culprit here is user error. For example, if somebody had two project files open and done the work on a blank project file, s
by derekmok
- Café LA
> the frame-by-frame filtering is in the Motion tab
Well, then it's not filtering! Motion adjustments should be fine. Also, keyframes are okay. What to avoid is pasting many very short clips within a limited amount of time.
by derekmok
- Café LA
If it happens again, copy everything and resave to a new project file. See if it gets rid of the problem. If not, then there's a good chance it is related to the media.
> Ordinary ProRes clips were chopped down to their frames, and these filtered individually.
If you have enough tiny little clips in a short time that weren't originally single frames themselves, that would cause problem
by derekmok
- Café LA
> Does FCP7 spazz when a project becomes too large or complex?
Yes.
> Today the editor here found her last few hours of frame-by-frame work gone.
That is not the only possible cause of this issue, though. A huge number of factors could result in a project file not saving -- permissions issues, software corruption, file corruption, flawed save habits...
I think I've only ever ha
by derekmok
- Café LA
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