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Re: crop at an angle - 8 years ago
The computers I have in front of me right now don't have FCP Classic on them. As I recall the 4 point or 16 point garbage matte might help you out. -Vby VPiccin - Café LA
Re: Can Color 1.5 do more in terms of color grading than FCP7's own tools? - 8 years ago
Yes dedicated grading programs offer better tools for finishing your project. Color was a fine program, and I miss it dearly. Sadly, it is now EOL and probably not worth learning for the long term. I would suggest you take a close look at DaVinci Resolve. It has a very capable free version, and has a future, making it a far more useful time investment to learn.by VPiccin - Café LA
Re: Capture betaSP/digi using G5 - 9 years ago
Six weeks have passed without your getting any answers. I JUST saw this. Still looking for capture solutions for your old G5? You should be able to get a bunch of stuff for next to nothing on eBay as most folks have long moved on. If you are still interested let me know and I can help you shop a few solutions. -Vanceby VPiccin - Café LA
Re: Greenscreen spill - general question - 9 years ago
In my experience the brightness of the green screen is not as important to the key as the saturation. Lots of DPs pour vast quants of light on a backdrop to get it to be bright and even. This leads to lots of green spill. To help your outdoor problem, you might try flagging the sun light on the screen down a stop or two.by VPiccin - Café LA
Re: Extending freeze frame - 9 years ago
Just a quick review on DPI for video. DPI or Dots per inch is a measure of image resolution designed to be significant for people making physical prints of their work. It means, as it sounds, how many little dots of ink are printed on each inch of the final medium. Obviously the more dots crammed into each inch of the picture, the sharper the reproduced picture will be. In our video world, DPIby VPiccin - Café LA
Re: Metal to Metal sound in my tower - 10 years ago
Glad you got the machine back in line. At one time having the maxed out latest model machine was pretty much necessary to keep up with the demands of the software and media. Not so much now. If a machine is making you money why not keep it running? When you win that bid for the multi-cam 4K shoot, maybe then it will be time to spend.by VPiccin - Café LA
Re: It's that time again. Reviving this topic started in 2008 - 10 years ago
Seven years has passed. Technology has changed. I don't see the point.by VPiccin - Café LA
Re: Metal to Metal sound in my tower - 10 years ago
I know this is way late, but just scrolled down to this tread. Was your problem by any chance a fan? One of my clients was having similar issues, and it turned out to be the fan on a capture card. In trying to find the culprit we discovered just how many fans there are in a MAC tower. Depending on the vintage they may be quite a few. Look for fans in the power supply, the processor card and tby VPiccin - Café LA
Re: keyframe flickering - 10 years ago
As Jude mentioned it is hard to know exactly what is up without seeing the problem. If you are working on a single shot, rather than turn your entire timeline to a different format try making a timeline just for the VFX shot. Make THAT timeline something like ProRes and try the composite. Then export a rendered version in the format that your show is in and cut that back into your main timelinby VPiccin - Café LA
Re: HDD Dock for hiding drives - 10 years ago
Well how about a folder on your desk with aliases for each of your HDs?by VPiccin - Café LA
Re: HDD Dock for hiding drives - 10 years ago
In the finder preferences in the general tab you can switch off the visibility of hard drives.by VPiccin - Café LA
Re: downloading Vimeo - 10 years ago
It's a bit of work, but you can go the screen capture software route. Camtasia or SnapzPro can do this.by VPiccin - Café LA - X
Re: Syncing up, then cutting out 2-pop? - 10 years ago
That is a workable solution, depending on the specs for your deliverables. Often if you are handing off to broadcast you will have a set of specs that might include a fixed amount of bars and tone, black slugs, slates and the like. In that case you may need to remove the 2pop from your master. I would suggest you keep a version of your sequence that has the audio layback as you describe. Then makby VPiccin - Café LA
Re: Any way to anchor a shot’s motion to another shot? - 10 years ago
If you have FCP 7 then you probably also have Motion (4?). Google "Motion Tracking with Motion". There were a couple of YouTube tutorials that popped right up. This may get you where you need to go. If not, then you might do as Derek suggests and seek out a VFX artist to do the shot for you.by VPiccin - Café LA
Re: Editors have you ever received this request? - 10 years ago
To replaced by the current command from the director, "rolltapetaketape" in a single word that is about 15 ms long.by VPiccin - Café LA
Re: Difference between a Live Feed From a camera and a Live Stream to the Internet? - 11 years ago
Lavoy, that is a pretty broad question. Could you provide a bit more context? Generally a video signal from a camera is a continuous flow of image data. Data streams on the internet are chopped into packages of data bursts wrapped with addressing information that are reassembled by the recieving computer.by VPiccin - Café LA
Re: General Error on Render - 11 years ago
Trashing preferences might help. The easiest way is to use something like this free utility from Digital Rebellion: While you are there take a look at some of the other handy stuff they offer. If that doesn't help it could mean that you have a shot on your timeline that for a number of reasons won't render properly. Try the "half off" method. Select just the first half of youby VPiccin - Café LA
Re: Transparency in Motions canvas - 11 years ago
Well this is just as cumbersome I suppose. How about closing them all and re-opening in the order you want the tabs?by VPiccin - Café LA
Re: Modify all subtitles in a sequence FCP 7.0 - 11 years ago
Here is something you can experiment with. First change just the first title to be the way you want it to look. Next export your project as an XML file. Here comes the the tricky part. You need to load the XML into a word processor. Then find the first title and the second. Compare the code around the titles looking for differences. The code is more or less plain english. If you can locatby VPiccin - Café LA
Re: Transparency in Motions canvas - 11 years ago
Are you using the project file in FCP or a rendered output from Motion? You can just drop the project file on the timeline and render in Final Cut 7. If you render in Motion be sure that you use a codec that supports alpha transparency. Either Apple Pro Res 4:4:4:4 or Animation codec are the usual suspects. As for re-ordering the tabs, you can just drag them around. Or are you looking for someby VPiccin - Café LA
Re: Academy Leader - 11 years ago
FCP has a feature that can put a countdown on tape outputs. Is that what you are referencing? You can also, if course, just edit a clip of a countdown at the top of the program as well. Do you need a full countdown or academy leader? Often for sound sync reference a "2 pop" is sufficient. That is just a frame of some sort of graphic and a frame of tone placed 2 seconds before the proby VPiccin - Café LA - X
Re: P2 720 to 1080 - 11 years ago
As always Dennis your method is superb. My question tho, is 24p tp 60i presentation necessarily bad? To several generations of people on 60Hz countries film on television has always had this judder. It is part of what defines filmed drama from sport or live news.by VPiccin - Café LA
Re: Non internet connected edit systems - 11 years ago
I have this situation at two of my clients. In both cases it has to do with corporate networks. Many secure corporate networks do not allow computers to have administrative privileges. Running a MAC with a non-admin account is a real pain. No software installs, updates etc. Further corporate networks insist on antivirus software, and that can cause slow downs and stalls when capturing. In botby VPiccin - Café LA - X
Re: P2 720 to 1080 - 11 years ago
I don't know the camera, but as I understand it Panasonic records 24p in that mode by adding the 2:3 pull down we are discussing. I believe it is possible to reverse telecine this to produce true 1080p 24 frames. Others here can chime in, but I believe you do this with Cinema tools. This would give you 1080 frames that match your footage frame rate. If you composite at that size and export cuby VPiccin - Café LA
Re: P2 720 to 1080 - 11 years ago
Fair enough. What are you keying over? Perhaps you could key using 1080 p24 as your size and rate, then rescale the composites to 720 to match your edit?by VPiccin - Café LA
Re: P2 720 to 1080 - 11 years ago
If you have not yet shot the majority of green screens, perhaps we are back to the idea of editing 720p 24? You might want to key one of your shots, and then scale, rate convert and de-interlace the composite to 720p 24. Edit that back against your other footage. Finally rescale to 1080i. Look and see if you can live with the result. Or perhaps only edit the show segments that contain 1080by VPiccin - Café LA
Re: P2 720 to 1080 - 11 years ago
So it seems that you will be editing in 1080i as that is the format that both 720p 24 and 1080p 30 will convert to easily. Other combinations are difficult at best. I don't know what software you have available but you should probably run your 720p material as a batch to scale and rate convert to 1080i. Compressor will do this, as will other programs. As Shane points out, just dropping the 72by VPiccin - Café LA
Re: P2 720 to 1080 - 11 years ago
In 60Hz countries we have seen so much 2:3 judder that we think it is normal. Heck we are weaned on it. Now those of you in the 50hz world, well not so much. One reality to consider in the post video tape file based world is getting from 24p to 1080i without the baseband/hardware step. For that you need to be sure to do a proper pass in a software encoder like Compressor, Episode or Sorenson.by VPiccin - Café LA
Re: P2 720 to 1080 - 11 years ago
This is not exactly the answer you are looking for but if I were doing the edit I would cut the project as 720p and upconvert only the final edit for delivery. 1080i is usually a broadcast format. For other deliverables progressive formats are a better choice. So if you have any designs on web or screen delivery I would avoid cutting in 1080i.by VPiccin - Café LA
Re: .MTS files on Mac Air - 11 years ago
Take a look at this Sony site for XDCam tools. While I don't own an Air, they work on other Mac's to view and import Sony media to NLE's.by VPiccin - Café LA
