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In these days of Pluralize doing things that would have once been considered magic, syncing up a timecode/TOD text/XML log of scene/take/slate/whatever with a bin full of similarly timecoded tapeless files doesn't SEEM like it should be too hard. But then I've never written any code.
by Andrew Kines
- Café LA - X
This just saved my butt... mediaconverter.org/
Free basic WMV (and others) converter. Upload, convert, Download.
No installing codecs, demo software or other questionable gak.
Stupid PowerPoint. Sitting there on outdated windows laptops with old file format limits (.asf .avi. wmv?) taunting us and our fancy shmancy H264s.
Not to mention PP operators who just stare at you when you ask
by Andrew Kines
- Café LA
It's not what you recorded them at that might be the problem. It's what FCP thinks they are that causes problems.
Audio recorded on H4Ns, 744Ts or any other recorder isn't broken up into "frames" in the recorder. There may be metadata that indicates what frame rate it was tagged at but the job of dividing audio up into frames happens when you import it into FCP or any other editing s
by Andrew Kines
- Café LA
There's also a fun little issue that can crop up w.r.t how FCP interprets frame rate on audio clips.
Open up one of the problematic audio clips and see what frame rate FCP thinks it is. If it doesn't match your footage, that could be the problem.
FCP will assume the audio frame rate of clips without TC or a source is whatever the current sequence setting is.
It's the fact that you've mov
by Andrew Kines
- Café LA
No you don't have to start again.
Make a new sequence with the proper compressor codec (see * below) and frame rate.
In you original sequence lasso/select all
in the new sequence past.
There might be a few gaps things you'll have to watch for (unlikely with stills though) so you might want to step through the sequence and check it after.
*Make your new sequence a ProRes(HQ)1280x720 (or 1
by Andrew Kines
- Café LA
If it's just stills and headed for FB, you don't need to use such a high frame rate. Use 23.976.
What is the resolution of the photos?
Are you rendering out the timeline or playing it back with a green or other coloured line in the render status display?
Is your project file AND the source photos on your external drive?
Is the music track a WAV or AIFF file or is it an AAC or mp3?
Is
by Andrew Kines
- Café LA
What is your drive/storage set up?
Hard drives:how large connection type (USB, Firewire eSATA) RAID configuaration
by Andrew Kines
- Café LA
If you look up whatever the keyboard shortcut is for that, you were probably mashing something similar at the time.
by Andrew Kines
- Café LA
Above the canvas monitor there's a drop down button with a square in it. Click that.
You PROBABLY switched to Alpha from RGB.
Make sure it's on RGB.
by Andrew Kines
- Café LA
Isn't the copy files option in Automator an option? I rename files all the time without copying.
by Andrew Kines
- Café LA
As I am not always going to be in control of these archive files I was loathe to use reference QTs. I gave it a shot nonetheless.
For one of the 183GB HD files the FCP edit and export to reference file took, of course a couple of minutes.
Setting up the compressor que took a few seconds.
However, with the QuickCluster set up as it normally is, the first task it undertook was to copy the origin
by Andrew Kines
- Café LA
OK hive mind. A problem.
Given: A filmmaker's short films from the last 15 years (8 films) transferred over that same period to BetaSP, DigiBeta and HDCAM. Before big money is spent on new high res film transfers some promotion of recent work and various other fund raising relying on her body of work.
I get a hard drive of 8bit Uncompressed transfers of the aforementioned tapes. Bars/tone,
by Andrew Kines
- Café LA
I was helping someone with this over the weekend and couldn't find an adequate solution.
They live streamed a one hour fund raising classical music performance using 3 cameras mixed through a Tricaster. At the end they dumped out an mpeg2 file roughly 100GB in size.
That file chokes everything that tries to play it. Recompressing anything but the entire file in Compressor3 or Sorenson Squeeze
by Andrew Kines
- Café LA
Entering their crappy names in to custom columns, then renaming it to what you like and then printing the bin to paper/PDF is another way of tracking that mess. Custom columns are also good for Date sent, Date Resent etc
I like emailing the resulting bin PDF to the FX op with a note, oh so cheerily worded,
QuoteHey Doodles,
FYI: Here's a bin representing the clip you sent me and the 50 other
by Andrew Kines
- Café LA
And supposedly, model numbers...
by Andrew Kines
- Café LA
Hey there,
I wasn't able to answer this question for a director friend of mine and I thought the hive mind here might have some data to share.
What are people using to distribute EPK's or scene clips for news/entertainment? That is, when I did have some interaction with this part of the industry we got Beta tapes with the trailers and a few scenes on them. How is that stuff being delivered
by Andrew Kines
- Café LA
It's just for the acceptance process not the actual screening.
by Andrew Kines
- Café LA
Quotewalterbiscardi
"You're with us or against us" if you don't like a particular tool and if they don't like what you say, then they have to disparage both you and your work.
And that right there is why I decided to stay out of the whole FCPX fray. I have consulted on FCPX projects, got a director started on his own ultra low budget shoot/edit/finish FCPX project. I have opinions
by Andrew Kines
- Café LA
In FCP 7 I have had issues with ballooning project sizes and various instabilities. It's not rock solid. Avoiding subclips is always a good idea, even if that is considered one way to assemble/prep clips for synching.
I love using AUX tc to sync stuff that wasn't intended for sync. Do it all the time.
I have only ever used sequenceLiner on ProRes and DVCProHD, worked fine, many times.
by Andrew Kines
- Café LA
I would skip step 2 and 3's multiclip workaround and use Andreas/SphericoTools sequenceLiner (http://www.spherico.de/filmtools/sequenceLiner/index.html)
If your TC is as good as you say, just use sequenceLiner to line everything up to time of day and then proceed with your other workflow.
HOWEVER:
Basing a FCP7 multiclip workflow on reference clips would make me extremely nervous. Why?
by Andrew Kines
- Café LA
There is no OMF import into FCP7. At least not without third party apps, if even.
You can however import OMFs into Soundtrack Pro which came with FCP 7. It's not the same as far as having all the clips in an FCP timeline but it's...something.
by Andrew Kines
- Café LA
I've had less than consistent results with MPEG streamclip on Open URL. Some YT videos are either blocked or somehow prevented from working.
It seems YT is constantly changing the way it serves up files.
by Andrew Kines
- Café LA
Jude, have you tried YouTube5?
by Andrew Kines
- Café LA
I use a Safari extension called YouTube5 for videos. It's not perfect but I don't do tons of this and it works for what I need.
The youtube-mp3.org page gets you exactly what it implies, quickly.
by Andrew Kines
- Café LA
I use Compressor all the time to dump out 264s for screening and make DVDs and what have you. I was wrestling with it last night, pushing hard into no sleep territory. Making DVDs and High and low res 264s for various uses of 15 on set playback segments.
Anyway...
This morning I add one more item to compressor and send it to the render cue and mistakenly add an ac3 render to a soundless item (o
by Andrew Kines
- Café LA
Curious,
What's everyone using to check temperature in their systems.
I am using Temperature Monitor by Marcel Bresink Software-Systeme.
I run 4 drives in my system and even with a full 8 processor render from compressor overnight on 500GB of HDV to ProRes I don't think I ever hit some of those temperatures.
Mind you I use compressed air and I vacuum out the fans quite frequently, as I am c
by Andrew Kines
- Café LA
Hey pypo,
It was enable/disable in the context menus of FCP 7.
I don't know that it was ever show/hide or visible/invisible except in the vernacular.
Could be wrong about that though, once I learned that shortcut I never looked it up again. I use it all the time. I think if I ever talked about it I always used in/visible.
Whether there's better terminology to use I wouldn't argue about t
by Andrew Kines
- Café LA - X
Key word being "bare" drives. The way those systems are sold it's "simple, easy enough for anyone to back up" which is true. The complication being that if you have them located in the same place as say, one of those SATA docks it looks like like it operates on the same idea.
The uninitiated might think that it is just a dock for SATA drives. But it will take any driv
by Andrew Kines
- Café LA
I have dealt with this exact same issue but it's been a few years so I will try to remember what I did.
As an example of how different Arabic is, Adobe sells a complete set of their graphic design products in separate editions (PhotoshopME, IllustratorME etc) with ME standing for Middle East I guess.
To avoid having to buy another copy of Photoshop or Illustrator I did the following:
Do
by Andrew Kines
- Café LA
Dubbing 1" open reel to Beta, 3/4 and VHS
Loading 1" open reel in a central rack/playback room
3/4" U-matic tape to tape
Beta tape to tape
(D5 robot arm playback/editor)
BetaSP 900 series switcher tape to tape
AVID 4.2 to AVID 7.2
(AfterEffects)
(Premiere edit rescue consultant)
FCP 1.2
by Andrew Kines
- Café LA
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