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1st AD posted:MC7 is qualified for the new Mac Pro, so I have to assume Mavericks is okay since I doubt it will ship with Mountain Lion. Ah, ok I'm not up to speed, then. It wasn't qualified the last time I checked.
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Mar 6, 2014 20:40
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Yeah, my post producer actually told me today that he's planning on upgrading the whole company to the new Mac Pros over the course of the next year. They already made a big jump from FCP7 to Media Composer last year, I'm amazed they're already going to shell out even more for the new systems. But I'm not complaining! If only Avid would fix the ten thousand bugs that have persisted from version to version. I prefer you, Avid, but drat do you like to abuse me.
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Mar 7, 2014 09:54
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Is there a tool that can show an interactive table of contents along the video running? For instance, you have a video about parts of the human body and next to it (either in a separate screen or as a part of the same screen) there's a picture of a guy. When you click on his arm, the video jumps to the part about arms. I understand Popcorn.js can be used for this, but I was hoping for a simpler solution.
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Mar 11, 2014 20:14
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Adobe Presenter is good for interactive stuff like that and you can import most media formats from what I can see. Output is flash though.
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Mar 11, 2014 22:51
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Is there a point to the Red Rocket if you're going to be editing the r3ds natively? Does it debayer the footage within the timeline or speed up rendering? Can I use it to render inside Adobe Media Encoder or Compressor?
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Mar 12, 2014 05:22
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thehustler posted:Adobe Presenter is good for interactive stuff like that and you can import most media formats from what I can see. Thanks, we need mp4 output, though. If somebody knows how to deal with this stuff, my company might have work for you.
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Mar 12, 2014 18:28
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MP4 isn't designed to be interactive so I don't think mp4 is an option.
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Mar 12, 2014 18:39
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1st AD posted:MP4 isn't designed to be interactive so I don't think mp4 is an option. Well, it wouldn't be the MP4s that are interactive, they'd be played by a script of some description I imagine.
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Mar 12, 2014 19:08
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I think you'd pretty much have to use Flash to make this kind of interactivity work. A while ago the TV show New Girl had an interactive branching music video on their website that basically worked the same way, though it wasn't as granular as Malaver wants it. But I'm sure you can pull it off with enough time/resources. It's not going to be something that would work on anything but a desktop computer, however.
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Mar 12, 2014 22:20
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This is something that you'd be best talking to a web or app developer about. Where/how would it be playing?
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Mar 12, 2014 22:43
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For now we want it on desktop. With time it would be great to progress to smaller devices. It will be a bonus feature when you read our e-books, so we will want to cover as many reading devices/methods as possible. We don't need a case-by-case solution but either a tool or a framework because we intend to produce many videos. Yeah, probably a web developer but I wanted to check other options just in case.
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Mar 13, 2014 11:44
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IIRC you can make clickable links within QuickTime videos. You might be able to combine a QuickTime video with a transparent overlay using CSS to get your results
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Mar 13, 2014 14:31
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1st AD posted:I think you'd pretty much have to use Flash to make this kind of interactivity work. Flash works really well for interactive mp4 video projects. There's a bit of a learning curve if you aren't already experienced with it, but you can manipulate multiple layers of video with transparency and have a good deal of control over playback. Adobe AIR will let you port it to multiple platforms, too.
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Mar 13, 2014 23:45
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Moon Potato posted:Flash works really well for interactive mp4 video projects. There's a bit of a learning curve if you aren't already experienced with it, but you can manipulate multiple layers of video with transparency and have a good deal of control over playback. Adobe AIR will let you port it to multiple platforms, too. I thought the file format can be either Flash or mp4 or something else. Not sure how to interpret your first sentence?
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Mar 18, 2014 01:23
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Doctor Malaver posted:I thought the file format can be either Flash or mp4 or something else. Not sure how to interpret your first sentence? Flash can import MP4 video and manipulate it in several ways, then publish as an SWF, or through Adobe AIR as a desktop application or a mobile app.
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Mar 18, 2014 02:44
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I've been lurking for some time and finally decided to pop my head in and try to get some feedback. This is a video I edited for my job at UT Austin's student newspaper: https://www.youtube.com/watch?v=bpW4eUwll2Y. I also shot the whole thing, so go ahead and give feedback on that as well if you'd like, but for the most part I'd really just like to hear what you all think of the editing - pacing, transitions, etc.
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Mar 21, 2014 03:34
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Anyone got any ideas why FCP7 won't let me reconnect files on our NAS, but I'm connected to the drives no problem, can browse them with Finder, etc. Had this problem for a while now and it effectively means I can't open any project that I've archived to network drives. Basically I get into the drive but it shows me literally no files at all in the window, and choose is greyed out. Not sure what other information I can give, really. That's all there is to it. Anyone seen this before?
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Mar 24, 2014 12:50
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The Clap posted:I've been lurking for some time and finally decided to pop my head in and try to get some feedback. This is a video I edited for my job at UT Austin's student newspaper: https://www.youtube.com/watch?v=bpW4eUwll2Y. I also shot the whole thing, so go ahead and give feedback on that as well if you'd like, but for the most part I'd really just like to hear what you all think of the editing - pacing, transitions, etc. If you'll take opinions from ordinary people, I think the video is great. I know it's only a test but with it being so dynamic I expected it to be shorter, like a 15 or 20 second jingle. After 30 seconds I started expecting some content.
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Mar 26, 2014 20:58
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The Clap posted:I've been lurking for some time and finally decided to pop my head in and try to get some feedback. This is a video I edited for my job at UT Austin's student newspaper: https://www.youtube.com/watch?v=bpW4eUwll2Y. I also shot the whole thing, so go ahead and give feedback on that as well if you'd like, but for the most part I'd really just like to hear what you all think of the editing - pacing, transitions, etc. This is a lot better than I was expecting (no offense). It's a little long but the pacing is great and there's a lot of energy. You need to work on your music edits, they're very obvious and it sounds like it just cuts out at the end. I get what you were trying to do with the Craig Robinson part but It probably doesn't pause for long enough and again, music edit is rough. and that kaleidoscope/mirror effect or whatever was completely unnecessary. Everything else was really organic. Nice work. RaoulDuke12 fucked around with this message at 09:00 on Mar 27, 2014 |
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Mar 27, 2014 08:57
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It's loving ridiculous that Premiere can't keep a folder structure intact on an import. God.
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Apr 2, 2014 23:17
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Use the Media Browser instead, it's much less aggravating except for when it resets constantly. I like Premiere, but anyone who thinks it's a FCP7 replacement is smoking crack. From weird/bad snapping behavior to the slight but annoying UI differences, I don't know why people think it's so much better than FCPX. At best they both do things better AND worse than FCP7. Also native workflows sound great until you gotta try to export an hourlong project in 4k, then you'll be wishing you transcoded everything.
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Apr 3, 2014 00:26
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1st AD posted:From weird/bad snapping behavior to the slight but annoying UI differences Yessss. I cannot figure out the snapping. It just does what it wants to.
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Apr 3, 2014 00:47
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I like it way better than FCP7, don't like FCPX at all, and have no problems with its snapping behavior.  I will admit exporting could be a better experience though.
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Apr 3, 2014 03:02
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Just picked up lightworks and have a couple questions. Can I ask 'em here?
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Apr 3, 2014 17:52
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NO, gently caress YOU. Of course. I haven't seen much Lightworks talk but hopefully someone can answer your questions.
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Apr 4, 2014 06:50
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I've been interested in checking the new Lightworks out. I'm an Avid guy but worked on a feature film in 2003/2004 that used the Lightworks Touch. What took me a few years to learn on the Avid took me a few weeks on Lightworks, very intuitive machine for editing. Unfortunately, the numbers that went into the machine were not the numbers that came out of the machine, which is not a good thing when you're doing a neg cut. The company that owned the software went out of business shortly after we finished the film and I've never used it again.
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Apr 4, 2014 07:00
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Hey guys, hoping you might be able to point me in the right direction as there doesn't seem to be a more 'hobbyist making things for fun, youtube and the like' thread (unless I'm being blind). I'm trying to cut up loads of movies into really short clips of mainly B-Roll so I can make a new context for them and have them projected during a club night. As it seems easiest to source from MKV, I did what an editing guide suggested and used QT7+Perian to dump them into a file that FCPX could read without problem, which was wonderfully straightforward and great. So I went through the first film in the bin, just using the Event Viewer and marking my in/outs and tagging as favourite when I found the clips I wanted. Unfortunately I'm now getting issues such as the frames corrupting - sometimes by accessing the Favourites in the event viewer again (although sometimes these would then vanish) but more consistently when I drag to the timeline. Out of 50 clips, it's happening on say 8 or so, and only for a little bit until it 'settles'. I remember from years ago the different types of frames (I,B and P?) and I'm wondering if I'm tagging my 'in' on a 'bad frame' ? if so is there a simple way of correcting this? It took hours just to do the first film yesterday and it kinda sucks a fair chunk of the footage is currently unusable. I've done a quick render of a 60 second clip to a h264 and tested in QTX and it's happening in there too, so it's not just in my edit window. e: screen cap in case I'm explaining like an idiot. This will only ever happen at the beginning of the clip and last a few seconds - however some of the clips are only a few seconds long anyway.  e: urgh, I think it might have come down to not transcoding the media on import. I've done a few 720P ones instead of 1080P since and its been far smoother. I think I might just have to redo it using the time codes. Quality of output doesn't seem as good but it's being projected in a club anyway and I'll be butchering the OAR so it's not so important. Think I've solved this one at least... EL BROMANCE fucked around with this message at 16:25 on Apr 6, 2014 |
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Apr 6, 2014 14:14
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Transcode to ProRes. Both FCPX and Premiere can in theory play back most files in the timeline natively, but in reality anything using any non-standard container or h264 profile is going to give you problems, especially if your hardware isn't up to snuff.
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Apr 6, 2014 17:41
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I'm guessing when I check the 'Transcode Media' box in FCPX, it defaults to ProRes 422 yeah? It's gone far, far better after doing that (to the degree I managed to tag up about 5x faster today) . Hardware wise I'm not too awful - Quad i7 2012 iMac with 12GB RAM. Working in a lower res is probably a big benefit too! Cheers!
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Apr 6, 2014 19:43
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Editing newb here, I hope someone can help me out here. I've been given a list of FCPX color adjustment settings and I'm trying to implement those in Premiere Pro. Specifically, the color board screen has the hue degrees and then intensity percentages. Some of these are negative. How do I implement the negative percentages in a three way color corrector? Should I apply those as positive amounts and change the hue by 180 degrees? Thanks.
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Apr 10, 2014 17:16
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With the channel mixer, probably. I don't know how to convert the hue values to RGB, however.
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Apr 10, 2014 20:58
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Jalumibnkrayal posted:Editing newb here, I hope someone can help me out here. I've been given a list of FCPX color adjustment settings and I'm trying to implement those in Premiere Pro. Specifically, the color board screen has the hue degrees and then intensity percentages. Some of these are negative. How do I implement the negative percentages in a three way color corrector? Should I apply those as positive amounts and change the hue by 180 degrees? Thanks. You don't. The FCP Color board is completely non-standard and has no analog. Also, Every software's 3-way interprets footage slightly differently. You get visual referrences and redo them. And if you're just color grading you're better off in davinci resolve than almost anything else. Also, if you're not using a calibrated REC709 broadcast monitor, who knows what you're looking at. You monitor could be completely off. You should refer them to a colorist. Of course us colorists aren't cheap... Armagnac fucked around with this message at 05:38 on Apr 11, 2014 |
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Apr 11, 2014 05:35
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1st AD posted:Is there a point to the Red Rocket if you're going to be editing the r3ds natively? Does it debayer the footage within the timeline or speed up rendering? Can I use it to render inside Adobe Media Encoder or Compressor? Yes on native editing, and you shouldn't be using AME or compressor to render R3d's, use redcine-X or Resolve (which will use GPU's & Open CL). The Rocket handles all R3D rendering tasks in real time (up to 4k for the original Rocket, up to dragon for the new one). However, Some bigger posthouses have actually dropped them in favor of the software rendering because they like the look better & the new SDK from red has implemented GPU acceleration for debayering (but not decoding) so where I was getting 4-6fps for fullres 5k debayering, I'm now getting 12-13 in resolve. It's not in Premiere yet but should be soon.
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Apr 11, 2014 05:52
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Yeah I quickly discovered that rendering 5k inside AME/Compressor was a horrible terrible bad idea. I'll try some tests in Resolve, but with my current system I can send a 2 minute 5k FCPX timeline to ProRes in...40-45 minutes  It's really deceptive because my system can play it back at 1/8 or 1/4 res and I don't notice any lag, and then I get murdered upon render.One time I forgot and set it for h.264 and the ETA was something like 5 hours and it kept going up 
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Apr 11, 2014 06:30
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1st AD posted:Yeah I quickly discovered that rendering 5k inside AME/Compressor was a horrible terrible bad idea. I'll try some tests in Resolve, but with my current system I can send a 2 minute 5k FCPX timeline to ProRes in...40-45 minutes *This* is why Alexa kicked RED's rear end, despite the R3D format being more visionary concept and technically impressive than the ALEXA Raw or ProRes. DP's liked that it looked better with less work, you had to learn how to deal with Red. Personally I think that Red's idea of taking the raw sensor data, and compressing that (rather than compressing a debayered RGB file) is brilliant and it's true that as debayering algorithms get better over time, so does your footage. R3D's from the red one in 2007 would look substantially decoded today than back then. However, Post houses saw it as a revenue stream, and tried to replace their lost tele-cine business and overcharged, You need a DIT/One-light for the edit. And your staff needs to be a bit more technically proficient. And in production those are often luxuries, and the 1080p/2k of the alexa was all the producer wanted anyway, as s/he can't afford effects, titles, and storage for 4k...
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Apr 12, 2014 15:32
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I feel like I should know the answer to this already but if I capture to Prores 422 and then realise that I need to save some space, by putting those into Compressor and exporting as LT they will look worse than if I'd captured to LT in the first place, right? How much worse are we talking? Edit: Well, just tried it, no discernible difference, I swear thehustler fucked around with this message at 18:01 on Apr 15, 2014 |
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Apr 15, 2014 17:47
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The main difference is bitrate, if you plan to do no color correction and won't be encoding several generations if ProRes, even using ProRes Proxy can be fine.
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Apr 15, 2014 18:15
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Yeah if you aren't going broadcast especially, once you make an h264 for web you'd be hard pressed to tell you were originating with LT, even with some light color correction.
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Apr 15, 2014 18:23
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It's for web distribution and the only thing I may need to do is a very slight colour correction with the 3 way in FCP. Nothing major. Thanks
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Apr 15, 2014 18:25
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And remember my question was about a transcode rather than recapturing 
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Apr 15, 2014 18:26
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