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One possible solution:
Is the original file in the H.264 codec?
In FCP, select the original file in the browser and type Command-9
If the Compressor entry is H.264 that might be your problem.
Convert the file to ProRes and relink your timeline to the converted file.
by Andrew Kines
- Café LA
If you'd read Ken Stone's article you would have seen the following sentence (emphasis added by me):
"In order to see how your speed changes are being applied to the clips, click the Toggle Clip Keyframes button in the lower left of the timeline"
This is what you have inadvertently done.
Now undo it.
by Andrew Kines
- Café LA
While it would be nice, I think it unlikely. 1.0.3 had codec optimizations for FCP X and was not considered a bug.
It just wasn't meant for users of EOL software on OS builds more than 2 iterations out of date.
Would be good to hear if that worked for you though.
by Andrew Kines
- Café LA
Have you recently run Software Update? There is an update package that breaks MXF and MPEG playback and file handling in FCP7. If you look in System Preferences, under the Software Update tab there is another tab for listing installed updates. Look through that list for "ProApps Quicktime Codec 1.0.3" That's the one that breaks playback of some files. (this is on 10.6.8 and some 10.7
by Andrew Kines
- Café LA
Yes. It's not called "7.0.3" but "Pro Applications Update 2010-02". It's there in Software Update or at least it was last week.
If you're on MacOS 10.6.8 avoid the "ProApps Quicktime Codecs 1.0.3" as it will break MPEG2 and some other stuff. That's an update for FCP X.
And there's now "ProApps Quicktime Codecs 1.0.4" which I would also avoid unless you
by Andrew Kines
- Café LA
Jude
That's interesting to hear. I have a site consultation where this issue is going to come up.
Are they just running FCP7 or also running FCP X?
Is there anything else on that system like Adobe CS or Avid?
The MXF plugins like MXF4Mac and Calibrated{Q} are causing some grief.
by Andrew Kines
- Café LA
In one place where I was brought in as a workflow/media management consultant, I made those same arguments, Jon. Although in that case the network IT guy was a high end IT consultant who did know lots about security but I think underestimating the employees (or hiring creatives with no tech skills (zilch,nada, bupkis) whatsoever) was the cause of the high security paranoia.
My proposal (that d
by Andrew Kines
- Café LA - X
A comment in another thread reminded be of a situation I have been running into recently. That is, edit suites that are totally silo'd from the internet for security reasons (worries about footage leaking out, malware, viruses and such). Usually there is a internet drop or wifi in the room for basic downloading on producers laptops and such.
One set up I was working at was a well endowed suite
by Andrew Kines
- Café LA - X
Jude Cotter Wrote:
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> I'll vouch for Premiere CC being stable on long
> form too. I've overseen one hour-long broadcast
> spot that had about 24 hours of HD footage, and
> recently, one 'straight to DVD' project with
> hundreds of hours of extremely mixed format stuff.
> Not a hiccup on either. Not sure where this ide
by Andrew Kines
- Café LA - X
As Derek said you have a knowledge gap and you're not the only one.
Every week I have to explain to someone that QuickTime isn't a format and a .mov extension means nothing when it comes to solving compatibility issues.
Check this out for a small list of what can be called a "quicktime file"
The wide acceptance of H264 was a gift from the Flying Spaghetti Monster for eliminat
by Andrew Kines
- Café LA
Loren Miller Wrote:
-------------------------------------------------------
> but most folks are cautious and reserve a separate partition or even
> a separate drive for upgrade testing.
Or we just wait and let others test it out for us. Says the man still operating a 10.6.8/FCS3 2008 Mac Pro tower.
by Andrew Kines
- Café LA
Nick Meyers Wrote:
-------------------------------------------------------
> if i may be allowed to piggyback on this, i'd love
> to find a good app for syncing drives.
The nerdy way is to use rsync in the command line.
The slightly less nerdy way is to use a GUI on rsync like the app "arRsync"
The even less nerdy way is Carbon Copy Cloner (highly recommended and I thi
by Andrew Kines
- Café LA
Watch out for this...
by Andrew Kines
- Café LA
Joe
You could try and do something for your own benefit and get, at the very least, a mic on the camera, the simplest kind that won't bother the camera ops and doesn't tax your inexperienced audio op. A small shotgun pointing forward will get the slate clap and help with PluralEyes type syncing. Almost any mic will do and you might have to get a small one to get it past the crew who don't want a
by Andrew Kines
- Café LA
Sound Devices's Wave Agent can combine multiple tracks into one polyphonic file (and vice versa). Very handy bit of software, that one.
by Andrew Kines
- Café LA
In the tradition of Hollywood Zen, Hollywood Karate and other faux mystic teaching methods, the answer is whatever you want it to be.
And without having to go through all the struggle to come to your own a-ha moment I will get to the point and say that it can be mapped to any key using the keyboard layout tool.
I don't think it's mapped to the standard keyboard layour but there is a pre-built
by Andrew Kines
- Café LA
Before you spend the big bucks on data recovery, the last step right before that is to tear the drive mechanism out of the case and mount it in a SATA dock (aka a drive toaster). If it's just the power supply or bus circuit board that is fried (very common with LaCie drives) then the drive might still work.
You'll get your data off the drive at least.
SATA docks are becoming more common, ask ar
by Andrew Kines
- Café LA
There was a guy on the old AVID-L (Hulfish?) who had a method that consisted of training one of the speech recog programs to his voice then he would play the tapes in headphones and repeat aloud everything that was said. It's 1:1 timewise once you get used to it but that might be somewhere on your fast/cheap/good selection matrix.
by Andrew Kines
- Café LA
You can only change the frame rate of an empty sequence. If you paste from a 23.976 sequence to a 29.97 one, you might get random 1 frame holes throughout your timeline. If your source material is not 29.97 you run the risk of creating bad artefacts as FCP doesn't add pulldown automatically.
So you can get a 29.97 sequence easily but there are other issues you might need to look into.
by Andrew Kines
- Café LA
For most projects there is only one ACTIVE sequence until versioning and outputs etc. For the majority of this period of editing I denote the one active sequence with the bullet • (option-8) and also use a version numbering system like Derek indicated.
There can be only 1 active sequence in a project with the Bullet at the beginning of the name. It sorts to the top/bottom alpha-numerically
by Andrew Kines
- Café LA
Spending a few days with Premiere 6.0(WIN) on a corporate gig. 3 camera angles at all day conferences. Audio on a separate system usually H4n or another Zoom variant. Tons of media to be ingested and synced. Cutting highlight packages and switched cuts of each presentation, Q/A and wrap session. The previous sentence can be interpreted to mean boredom lurks around every bend.
The multicam is i
by Andrew Kines
- Adobe Premiere Pro CC
What format is the timecode that is giving you the 28:30?
If it's anything other than 29.97 drop frame TC, it's not going to be an accurate representation of time from a TV perspective.
And yes, the real duration or "clock time" is important to broadcasters and to you.
You would risk the time being out by roughly two seconds. Spread out over three segments that could lead to bump
by Andrew Kines
- Café LA
Room Tone.
You probably didn't record any empty room tone at the time of the shoot but you can try to find the longer pieces of silence during the interview and gather them into one place.
If you can find, say, 30 seconds of tone that doesn't have any pops, clicks, breaths or anything else in it, you can use that to bridge sections where you've taken something out.
Documentary recordists wil
by Andrew Kines
- Café LA
A very interesting part of the new Resolve, for me, was that it can generate a DCP.
I think that will get it into more than a few places on it's own. That feature will probably only be in the full version but if you're looking for a starting point for generating dailies and rushes that can also be your finishing point for grading and DCP generation, AND it cares little for what system you did
by Andrew Kines
- Café LA - X
The REDCineX app does all this stuff too but I haven't worked with it as much. I did do a debayer/edit/conform/grade with it on a short but only as a test. The full post was done somewhere else.
These kind of "Top and tail" packages are interesting in that they can be the first stop to generate rushes, sync audio, push dailies out etc and bring the conform back from editing into the
by Andrew Kines
- Café LA
Resolve is amazing.
Used it on a feature data management gig. Took no time at all to learn and once you're up to speed on shortcuts and presets you can really whip through things.
There are restrictions on the cards that it will work with but that's about it. The DMT functions (exporting dailies and rushes with al manner of burn in data) are great too. We were using the light version on some of
by Andrew Kines
- Café LA
Yes. No editing today though. Some editing in a couple of days. We shall see.
by Andrew Kines
- Café LA
This is just an FYI.
On one of the systems I look after that is 10.6.8 and FCS3 all the way, I just got the automatic software update for the new codec pack that goes with FCPX 1.0.8. FCPX has never been installed on this system. Use this information as you see fit. Or don't. Knowledge, power, responsibility etc. etc.
by Andrew Kines
- Café LA
Yeah. That is what I use Workspaces for in AVID. I just wish they would bring it to FCPX.
by Andrew Kines
- Avid Media Composer
That's a website only thing.
There's nowhere in the specs for video that has a place for placing links to HTML.
Finish your video, export it and upload it to YouTube. Use the annotate function in YT to add the links.
You CAN add the graphic elements in FCP that would be the area where your link would go but that's it.
by Andrew Kines
- Café LA - X
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