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Re: Exporting at the wrong frame rate - 10 years ago>You still haven't given the Sequence Settings. Pretty hard to help you unless we know this. Yea. Make sure the sequence is set to a supported codec like ProRes.by strypes - Café LA Re: Changing Sequence from 1440x1080 23.98 to 1920x1080 29.97 - 10 years agoYes. This is funky in FCP7. Changing timebase knocks stuff out of sync, creates gaps, etc.. Want to know what works? Premiere Pro. No gaps and everything stays in place. So yea, one workaround if your sequence isn't too complex (eg. Only straight cuts and dissolves), is to export an XML of the sequence, send it to Premiere, copy and paste onto a new timeline in 29.97, export an XML and import thaby strypes - Café LA Re: Red Giant Coloruite II conflict with PP 7 - 10 years agoOne of the reasons we needed Graeme Nattress' plugins is because we didnt have curves in FCP. Curves is built into Premiere, and FXFactory is now in Premiere and it has a few plugins by Graeme Nattress.by strypes - Adobe Premiere Pro CC Re: Red Giant Coloruite II conflict with PP 7 - 10 years agoHere are a bunch of free plugins and presets for Premiere: You can also create a vignette with the title tool, but nothing beats Bart's plugins.by strypes - Adobe Premiere Pro CC Re: Red Giant Coloruite II conflict with PP 7 - 10 years agoI would advice you to contact Red Giant support. Premiere does have built in curves and you can download the excellent free power window plugin from Creative Impatience, but I am simply not awed by the CC tools in Premiere or any other NLEs for that matter. These are NLEs, and it's always better to hand off heavy CC work to a dedicated app like the DaVinci Resolve or SpeedGrade. Colorista 2 iby strypes - Adobe Premiere Pro CC Re: Edit RED raw files or convert to Pro Ress? What do you guys prefer? - 10 years agoAh. I need to read the OP. Yes. Either works fine, but you may prefer to grade straight off the raw footage. You also can transcode and edit low resolution in Premiere if your machine is not powerful enough. My fav workflow if I'm not working native is probably to transcode to ProRes via REDCine-X, and then relink to the RED mags in the Resolve. And I'll prefer to work in Premiere for both offby strypes - Café LA Re: Edit RED raw files or convert to Pro Ress? What do you guys prefer? - 10 years agoIf you are transcoding, you can use the Resolve to generate offline rushes, or use REDCINE-X. Both are able to generate offline rushes that the Resolve can relink to. If you are working with Premiere, and your system is not powerful enough to push 4-5K of footage around easily, you can transcode and follow the same workflow for the other machines. For short form work, I have seen pretty good pby strypes - Café LA Re: Edit RED raw files or convert to Pro Ress? What do you guys prefer? - 10 years agoJude, it's FCP7. No way is he going to edit R3D natively, and don't even dream of dragging in the QT reference movies that the camera may record. Transcode if you are working in FCP7. If you're working in Premiere, test it on your system and see if you are satisfied with the performance before jumping in.by strypes - Café LA Re: Can I create hardcoded (burned in) subtitles from a softcoded .txt file? - 10 years agoYup! You said the magic words! Title exchange pro!by strypes - Café LA Ben Consoli's demo of multicam at the BOSCPUG - 10 years agoPretty nice demo.by strypes - Café LA - X Re: Advice on software to use for turning speech on video into a transcription - 10 years agoHere you go, MacSpeech Scribe:by strypes - Café LA Re: Advice on software to use for turning speech on video into a transcription - 10 years agoSpeech analysis is not going to be instant. And what kind of footage and machine are you using? I have used it on a batch of footage with a script. That worked fairly well because I had a script to start from. There may be a couple of solutions by Nuance, but they will be quite pricey and speech analysis produces rather high error rates.by strypes - Café LA Re: Animated map in FCP? - 10 years agoThe 72ppi/dpi may have been an issue years ago, but you can easily do a test by saving the image with an extremely high ppi, say around 50,000 ppi and another at 1ppi (or you can try 72) with the frame size the same for both. I doubt you will see a performance degeneration with high ppi. At least not when I tried it. 72ppi was the screen resolution of Mac displays a couple of decades ago and wby strypes - Café LA Re: Another media manager question - 10 years ago>the only right thing to do, to spend time and do manual labor renaming each and every shot After you log and transfer them, you can batch rename the clips in the Finder and re-import them back in, so you can do this in batches. Most of the metadata will still remain (reel name, timecode, clip id), except for log notes, so add log notes after renaming the clips. In fact, this was what I wasby strypes - Café LA Re: Canon c 300 C-log footage is foggy and and orange tint - 10 years agoYou can create prores offline rushes from the C-log in the free DaVinci Resolve Lite. The Resolve has built in LUTs to convert the C-log footage.by strypes - Café LA Re: Premiere Pro/iMac Upgrade Questions - 10 years agoThere are more advantages. There was already a 7.0.1 release that was packed with features. This would not have been possible under the previous perpetual model.by strypes - Adobe Premiere Pro CC Re: Premiere Pro/iMac Upgrade Questions - 10 years agoOne thing I have to say about the CC license, is that as a freelancer, I love it. I work at various production houses, and with CC, I have this set of tools that I can install, log in and use. Even if I'm working at a production house with CC, I can log in and instantly sync up my keyboard shortcuts.by strypes - Adobe Premiere Pro CC Re: Premiere Pro/iMac Upgrade Questions - 10 years agoThis is from Scott Worthington, a staff at Adobe. QuoteOur software EULA and the activation limits are going to be the primary preventative measures in a lot of these scenarios. If you leave a session of your software open at your office and lock the machine without closing the application, we're not going to prevent you from launching your activated software on your laptop when you get hoby strypes - Adobe Premiere Pro CC Re: Premiere Pro/iMac Upgrade Questions - 10 years ago16GBs of RAM is recommended for a good general purpose edit machine for native editing, as all that processing uses up quite a bit of RAM, not to mention you cannot swap out RAM on some of the newer Macs. Premiere also loves graphics cards, and it tends to like newer Mac OS's, because for the Mac OS, the updates for the graphics card drivers are usually bundled in the OS updates. I agree aboutby strypes - Adobe Premiere Pro CC Re: Premiere Pro/iMac Upgrade Questions - 10 years agoIf you are looking at the Resolve 10, here's a little hint about GFX card requirement from Peter Chamberlain from BMD. Quote2GB will be listed as the minimum recommended in the new config guides with minor exceptions, e.g. for rMBP where you cant order 2GB. If you do a comparison, there is a general price difference between PC graphics cards and the Mac "blessed" graphics cardby strypes - Adobe Premiere Pro CC Re: Premiere Pro/iMac Upgrade Questions - 10 years agoThunderbolt is still fairly pricey. You can also consider USB 3 arrays for editing. USB now has transfer speeds of 5Gbs. I'm not sure how well it will run the Resolve 10, though, as iMacs have a GFX card with 1GB of VRAM which may or may not be enough. And currently you cannot hook up GPUs via ThB.by strypes - Adobe Premiere Pro CC Re: Another media manager question - 10 years ago>You can't anymore if you're running an OS higher than 10.6.8 Snow Leopard. Lion and Mountain >Lion got rid of Rosetta, which allows the Intel-based Macs to run R-Name. Not really. There's a UB version of it, so it's not just PPC code. I'm using it. I have it on my Google Drive too. That will die once Carbon dies. Which means FCP7 will also die. Also, the OP is running FCP6, which willby strypes - Café LA Re: Another media manager question - 10 years agoWhat Derek said about the "#" signs. That leads to complications. What I would do, being a bit less set in my ways now, is to batch rename the clips in the Finder and re-importing them back into FCP. You won't be able to relink to the clips because FCP requires file names to be the same, but you should be able to batch capture from the source cards as that uses clip id. If you donby strypes - Café LA Re: Another media manager question - 10 years agoHere. In the Log and Transfer window. This will rename the clips as you are ingesting. If you click on the "name preset" drop down menu and go to "edit", there are lots of renaming options there.by strypes - Café LA Re: Creative Cloud Open Letter - 10 years agoThey do need to sell it as software as a service (SaaS) to keep pace with FCPX's development, due to the Sarbanes Oxley act. There is no doubt that FCP X was the fastest developing software last year simply because Adobe couldn't release any new features until this cycle. Give it until the end of the year and you could be seeing a whole different app with all these new features being added.by strypes - Adobe Premiere Pro CC Re: Adobe Premiere: How to drop a marker on a source clip while playing it in the timeline? - 10 years agoI didnt realize you edited the post earlier. >You can do this by double clicking the grey area to the right of the small eye on each track. Also, click the wrench icon near the top left of the timeline panel and make sure clip markers is set to display.by strypes - Adobe Premiere Pro CC Re: Adobe Premiere: How to drop a marker on a source clip while playing it in the timeline? - 10 years agoI have it mapped to shift M. You can select the clip in the middle of playback and add a clip marker. Unfortunately you can't name it without stopping playback. To add a marker to a clip in the Timeline, do the following: Set up a keyboard shortcut for "Add Clip Marker" in Edit > Keyboard Shortcuts (Windows), or Premiere Pro > Keyboard Shortcuts (Mac OS). Select the clip.by strypes - Adobe Premiere Pro CC Re: Adobe Premiere: How to drop a marker on a source clip while playing it in the timeline? - 10 years agoThere is a separate shortcut for “add clip marker”.by strypes - Adobe Premiere Pro CC Re: Creative Cloud Open Letter - 10 years agoIt is annual commitment, which is billed monthly as opposed to billed annually. Alternatively sub at a rolling cost. I'm actually liking the creative cloud. The license is much more mobile than the creative suite. On quite a few occasions I have downloaded CC apps to run on my work machine. I don't have to worry about keying in serial numbers and then deauthorizing.by strypes - Adobe Premiere Pro CC |
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