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Got a free copy of Final Cut Pro X through work, can't wait to dive into it, but I can't install it because my video card isn't good enough. Got a Radeon HD 4870 but I took the fan off to clean it out and need to add thermal grease to it to stop it from overheating when I put it back in. I'm about to fly to El Salvador and shoot a documentary, so when I get back I'm gonna fix this all up and try to learn FCPX and using it to cut my new movie. Everything trying to get prepared for this film has been a big ol pain in my rear end, so I'm hoping that means the movie will be great. If nothing else, I should at least be able to offer FCPX services by the time this is done.
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Jul 13, 2012 17:12
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My advice to you - disable all the auto rendering poo poo in FCPX. A lot of people claim it's efficient and poo poo, but in my experience every crash I've ever had was related to the auto-render failing to properly pause when I went back to work. Besides, there's really no point when I'm trying to edit all this native DSLR footage, it just takes extra space.
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Jul 13, 2012 18:42
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So if I'm editing in FCPX there's no need to convert DSLR footage to APR 422? I mean if the render engine is an issue then I'll do it anyway, but if it saves time and space then I'd be happy to get that advantage.
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Jul 13, 2012 23:42
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Yeah, when you ingest footage you can tell it not to create optimized (Prores) or proxy (Prores Proxy) media and it will just rewrap any MXF and MTS files into a Quicktime wrapper. Assuming that you have a decent OpenCL card (which I think your Radeon is) you should be able to playback a few streams of video without rendering, and color correction/secondary masks all play in real time. Some third-party plugins even work with GPU acceleration - I have a lovely s-curve plugin that works without rendering.
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Jul 14, 2012 00:26
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So I just got an amazing opportunity. My research professor (I'm in Physics) was in contact with the new Natural History museum here to create a 15 minute film about the creation of the universe, from the big bang to the formation of planets. Since I also have a degree in Film from the same university, he thought to put me in charge. I'm freaking out a bit here. My knowledge is mainly in the narrative aspect of film, not the creation. I've shot stuff, edited it in FCP, done screenplays, storyboards, etc. But nothing too professional. My FCP knowledge is... intermediate at best. I've never done anything "complex" like compositing or kinetic typography or anything like that, and I feel like that's something that's going to be necessary. Basically I need to find a crash course here. This could be a job opportunity that could set me up with a gig at the Museum and I want to blow them away. Can anyone set me on the right path?
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Jul 14, 2012 20:18
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What is your budget like? If your only experience in post is editing in FCP, you're not going to be able to jump in and create a 15 minute video complete with kinetic type and other frills. Hire someone who knows what they're doing and then reap all the credit when people are blown away by the finished product. Blow them away by producing something awesome, not by trying to DIY your way through the entire thing.
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Jul 14, 2012 20:24
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1st AD posted:What is your budget like? If your only experience in post is editing in FCP, you're not going to be able to jump in and create a 15 minute video complete with kinetic type and other frills. Hire someone who knows what they're doing and then reap all the credit when people are blown away by the finished product. There's going to be research money, as far as I know, but I don't know the dollar amount yet. The department can produce simulated footage of different cosmic events, and our plan is to stitch it all together with narration (or explanatory text) (or both).
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Jul 14, 2012 20:34
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This sounds almost exactly like something I made a few months ago: https://vimeo.com/42211983 (keep in mind this was finished to a deadline and I ran out of time - the edit needs work, I'm still playing around with it.) Basically all of the space shots were done in After Effects, some created completely in the program and some with footage from a cloud tank that I made. Other shots used images from NASA. I originally intended for there be no interviews and just have a single narrator but most of the feedback I got from people was along the lines of "you can't have a film this long with just a narrator, I got bored" etc. So my advice would be to find somebody to be the face of the film. Write a script and hire an actor if you have to, or do what I did and find people to interview. Blamethrower fucked around with this message at 21:11 on Jul 14, 2012 |
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Jul 14, 2012 21:07
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Good idea, but I think it's supposed to be one of those "playing in the background while people walk through an exhibit" kind of movies. I don't even know if it's going to be able to have any audio. But this is totally in the early stages at this point. I'll keep in touch via this thread though. I definitely will need to pick your guys' brains about this. Thanks for the help.
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Jul 15, 2012 23:35
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Is anyone aware of anyone that's compiled any sort of "smart bin" esque code for FCP7? I just want music and GFX from two particular folders to automatically get loaded into my project. https://developer.apple.com/library/mac/#samplecode/MovieAssembler/Introduction/Intro.html Based on that, the ability has been there since 5, but I don't know how to parlay that into an actual result.
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Jul 18, 2012 05:24
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I'm going to be making recruiting tapes for high school athletes and they've started requesting songs, so I thought I'd ask here if anyone knows what the policy is on using copyrighted material as far as songs go, versus royalty free music. I've seen another company use copyrighted songs in their videos, but I don't want to just do it and then get hosed. Can anyone touch on this subject?
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Jul 30, 2012 20:10
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Rickety Cricket posted:I'm going to be making recruiting tapes for high school athletes and they've started requesting songs, so I thought I'd ask here if anyone knows what the policy is on using copyrighted material as far as songs go, versus royalty free music. I've seen another company use copyrighted songs in their videos, but I don't want to just do it and then get hosed. Can anyone touch on this subject? I'm assuming you're in the US. In order to use a song with a copyright, you need to seek what are known as "sync rights." Unlike mechanicals, there is no statutory rate for sync rights, and you'll need to contact the owner of the copyright to ask permission; generally, this will be the publisher/label. These deals can vary widely - if it's a local band looking for exposure, they may let you have it for free (or a couple hundred bucks). If it's a hit single, you're looking at a cost that varies from "extremely high" to "astronomical."
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Jul 30, 2012 21:29
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That's what I figured. But I highly doubt this other company (lacrosserecruits.com) would have gone to all that trouble, otherwise they would have to pass the cost on to the clients and there would be no way in hell that it would be an affordable service.
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Jul 31, 2012 05:27
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It's probably willful ignorance, and the notion that there's a astronomically low chance of anything ever coming of it. Have a look at someone's wedding video someday and count the copyright infringement. You'll probably need to use toes.
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Jul 31, 2012 07:57
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RaoulDuke12 posted:It's probably willful ignorance, and the notion that there's a astronomically low chance of anything ever coming of it. This. You're pretty much banking on nobody who gives a poo poo seeing it, which is a pretty high likelihood. Even then you're probably looking at a cease and desist instead of a lawsuit.
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Jul 31, 2012 14:04
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Rickety Cricket posted:I'm going to be making recruiting tapes for high school athletes and they've started requesting songs, so I thought I'd ask here if anyone knows what the policy is on using copyrighted material as far as songs go, versus royalty free music. I've seen another company use copyrighted songs in their videos, but I don't want to just do it and then get hosed. Can anyone touch on this subject? Don't use them, especially if you're making promotional materials. If someone at a label gets wind of what you're doing, they can sue you for hundreds of times the amount of money you've actually made doing it. There's a lot of great royalty-free stock music you can purchase if they have a particular feel and style they're going for. Try asking the students for "musical inspiration" if they want a particular tune, if you want to go that far.
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Aug 3, 2012 22:19
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bassguitarhero posted:So I just finished the festival trailer for the Frameline Film Festival in San Francisco. This was sort of a last-minute thing that came through (the trailer took me about a week from start to finish) but I was really glad to be a part of it. It went live today, and the festival kicks off on Thursday. This was done almost entirely in After Effects: Hah, I think I spotted two or three movies I did the color correction and finishing on in that trailer. I work mainly on DaVinci Resolve and do a lot of work for indies and the occasional student film as well as commercials and TV. ---- the posted:Basically I need to find a crash course here. This could be a job opportunity that could set me up with a gig at the Museum and I want to blow them away. Totally agree with 1st AD here. Talk to a post-producer/production-house, get an itemized budget, and propose that budget, with you as director/producer. Chances are that budget will be in the 30k-80k range. You'll likely get turned down by the museum/professor. That's fine. You'll be the guy that was too expensive but professional. - *IF* the department can provide you with the ALL simulation footage, You *MIGHT* *MIGHT* be able to get somewhere on your own (or get a lower quote), but your script better be drat tight, and you (or your post-house/producer) better know what you're doing in terms workflow. Chances are, in this department are people with other jobs, and not much production background. Which means they wont understand workflow and deadlines. Which is a big red flag. If you take this project without the proper budget and under-deliver, you'll have worked yourself to the bone for months on a lovely project that they won't use. And, they'll think you ripped them off / you're lazy. I have seen it way too many times. "we gave our video guy $3000 bucks to make our 15min documentary and it came out so bad we can't do anything with it, he ripped us off. Don't work with so-and-so." Then I explain, "Yeah, the budget on a project of that scope should ten times that at least, and you're expecting one 20yo to have all the equipment and know-how of a documentary producer, a documentary director, a cinematographer, a doc-editor, and soundmixer and post-production finisher, do you also ask kids in vocational centers to re-model your kitchen?"
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Aug 5, 2012 22:46
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I got no response from the Windows Software thread, and even though this isn't really the level of editing generally discussed here, I figured people here would either know or be able to direct me to a more appropriate thread. I have some MPGs that play fine in Media Player Classic, and I'd like a simple Windows 7-compatible program to make clips from them with (I literally need to do nothing else). I tried Mpg2Cut2, and while it technically works, the video doesn't show up properly in it (maybe this is related to Aero shutting off when I load a video?).
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Aug 24, 2012 14:20
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buttopticor posted:I got no response from the Windows Software thread, and even though this isn't really the level of editing generally discussed here, I figured people here would either know or be able to direct me to a more appropriate thread. Windows Movie Maker?
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Aug 24, 2012 14:29
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Lightworks is finally out of beta so that's a possibility.
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Aug 24, 2012 14:31
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BonoMan posted:Windows Movie Maker? It seems to force me to save it as mkv instead of mpg, and I worry about a potential loss of quality (some of the files are very low quality already). Am I silly to worry or should I use something else? Actually, if I get the timestamps I need with a video player mpg2cut2 would probably work ok. Lightworks sounds a little overkill but it might be good to have anyway; I'll give it a shot.
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Aug 24, 2012 15:35
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Maybe try MPEG Streamclip. You can set an in-point and out-point (I and O keys respectively), then export it out as whatever format you want. It's not a full featured editor, but if you're just cutting clips out of a larger file it should work OK.
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Aug 24, 2012 16:54
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So while gripping/ACing on a short film this summer, I impressed the director enough that I also got hired to edit it (it is low budget). That's all fine and wonderful, but I've never worked with a sound house before and the spec sheet for turnover they just sent the director and I is waaaaaaay over my head. I figured I'd ask you guys for help before I scoured the internet/bothered the director/producer to help me out so I can figure out what I should be doing. Basically I have no idea what the standards are in this situation. Two notes: I'm editing on Premiere 5.5, and these aren't set in stone so if there's something I can't do from Premiere, it's not the end of the world. OMF/AAF SPECS -AAF 24bit 48kHz -5 sec Handles (larger if possible) This is for ProTools, right? Do I export this separately, or is it wrapped in the below-mentioned QT file? Also, I don't know anything about handles. QUICKTIME SPECS - Resolution: 1280x720 -codec: Photo-JPEG -Audio: QT embedded 24bit/48K w/ DX on ch1 and FX/MX on ch2 -2 pop at :58:00 and timecode at ZERO at the head of the leader. (R1 = 01:00:00:00, R2 = 02:00:00:00, etc.) Resolution and codec are fine, but I don't know what DX or FX/MX refer to, and I don't know exactly what he means for 2-pop and timecode. BURN IN's -All burn in's should be above the pic in the black and continue through tail pops. -My name and video version in upper right hand corner -Timecode in upper left corner Everything was shot on 5D/7Ds, and as far as I know those don't do timecode. Am I just supposed to generate a timecode in Premiere to slap on the edit? I also don't know what he means for his name and video version. And I don't have black, I'm editing at 16:9. Do I put some on? EDL's -CMX 3600 Format -Audio EDLs for each reel, linking to Dailies -Labeled with version name (ex:"GUS_R1_v0203_EDL_tk1-4") This is about where I get totally lost. I looked up audio EDLs, and kind of understand them, but not really how I should export them, especially from Premiere. Premiere apparently only exports 4 audio channels into CMX3600, but I have 4 channels of dialogue, 1 channel of voice over, and 2 channels of scratch music. I'm pretty sure there's a step or two to get from that to the EDL but I don't know what it is. GUIDE TRACKS -3 total tracks PER each reel. 24bit / 48K. Labeled with the version and reel. (ex:"GUS_R1_v0203_GT_FX") -Please include a 2 pop and tail pop in each GT. -Mono DX -Mono FX -Stereo MX And here is where my brain melted. I get the 2-pop/tail pop, but not the naming or DX, FX, and MX stuff. I also don't really get the idea of guide tracks, to be honest, in no small part because I don't know how the reel comes into it. Help? 
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Sep 1, 2012 01:38
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CaptainViolence posted:OMF/AAF SPECS OMFs are basically XMLs for Protools, yes. You do export it seperately. They bundle all of the sound files as separate clips and arranges them in tracks just like you have them in your Premiere timeline. Handles are how much additional media you want to include with each clip. if you set the handles to 5 seconds, there will be 2.5 seconds at the front and 2.5 seconds at the end of every sound clip. This enables the sound editor some leeway to correct mistakes, match room tone, etc. quote:QUICKTIME SPECS DX = dialogue FX/MX = sound fx/music for the two pop, you should adjust the starting time of your sequence so that the first frame of your movie falls on 01:00:00:00. Your two-pop will fall exactly two seconds before this, on 00:59:58:00. Often you will run 10-30 seconds of color bars, followed by a 5-10 second slate, followed by a 5 second countdown that ends on the two pop (the 2,1 aren't shown if you do this). R1 = Reel 1 R2 = Reel 2 OMFs can't be larger than 2gb, so if you're cutting a feature, chances are you'll have to split the movie up into reels, generally less than an hour long. so your second reel would start at 02:00:00:00 with a 2-pop at 01:59:58:00. quote:BURN IN's Yes, you will generate a timecode that matches your sequence timecode (starting at 01:00:00:00). This will help with spotting sessions, maintaining sync and many other things. I don't know what he means by name and video version, but I would put his name and [name of movie] [version #], meaning what ever cut you're on. yeah old school guys still ask for the tc burn in to be in the black even though it's usually not there anymore. put it as high as possible and put a black matte behind just the timecode so it's easy to read. quote:EDL's Usually EDLs aren't necessary if the OMFs work for the sound guy. Is this coming from the sound guy or is there also color correction happening? EDLs are archaic, so they're really complicated to get outputted correctly. quote:GUIDE TRACKS Guide tracks are just isolated audio channels. So he wants an AIFF export of just the dialogue, with the 2-pop as a clear starting point, an AIFF export of just the music, etc. etc. Hope this helps. I'll get into EDLs if necessary, but it's a pain in the rear end.
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Sep 1, 2012 05:18
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RaoulDuke12 posted:Hope this helps. You are amazing and I love you as much as anyone has ever loved another over the internet. Thanks! EDIT: seriously, you just explained everything I needed to know so clearly/concisely that I'm pretty much set just after that. You want a forums cert or anything? CaptainViolence fucked around with this message at 05:39 on Sep 1, 2012 |
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Sep 1, 2012 05:25
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no problem. I think I have everything forums related, so don't worry about it.  You're great for asking instead of pretending you know like a lot of people in your position would.Actually, looking back over your post, he probably wants EDLs so that he has access to the source audio files you used, which I can see being important. If he definitely needs those, let me know and I can probably walk you through it (generally the handles in an OMF contain enough information that he won't need to go back to the source files.)
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Sep 1, 2012 05:39
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If he ends up really needing them and I can't figure it out, I'll come hit you up through PMs or whatever, but I don't want to waste your time on something complicated if I don't even need it. You've seriously been a life saver so far! Someday when I'm out struggling in the industry, I will buy you a beer.
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Sep 1, 2012 05:43
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(borderline hardware forum question incoming) I spend a lot of time rendering so I'm wondering if there are any cost effective ways to cut down rendering times. A $3,000 system is out of my budget but something like a RAID array may be possible if it's worth implementing. Currently using Premiere on a PC. Fortunately I'm well-versed in hardware. I just don't know what bottlenecks rendering typical runs into and what kind of improvement I stand to gain. Thanks! edit: Oh! I also wanted to ask about Nvidia cards. I see that some of the newer ones have 1300+ CUDA cores, but real-world benchmarks don't show a huge increase over 300 core cards. Is this due to a bottleneck somewhere and is there any way to fully take advantage of these cards? The cards start around $300, compared to the $175-$200 300 core cards, so that seems like an obvious call if it's possible to fully utilize them. I'm hoping someone else has gone through this and has been more successful at finding answers than I have. Yip Yips fucked around with this message at 04:38 on Sep 3, 2012 |
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Sep 3, 2012 04:32
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Yip Yips posted:(borderline hardware forum question incoming) A raid won't make your rendering faster. You need cores and ram. If you are using Adobe CS5 or newer, a CUDA card (Geforce or Quadro/Telsa) may help you out too. Neither of these options are cheap though.
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Sep 3, 2012 04:38
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mayodreams posted:A raid won't make your rendering faster. You need cores and ram. If you are using Adobe CS5 or newer, a CUDA card (Geforce or Quadro/Telsa) may help you out too. Neither of these options are cheap though. I see. Right now I'm using an i7-860 with 8gb RAM. I have an ATI card for the moment because I purchased it before I started editing, but I'm going to be picking up an Nvidia card of some sort for sure. Do you happen to know anything about my edited questions? And thanks, I appreciate it.
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Sep 3, 2012 04:41
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Yip Yips posted:I see. Right now I'm using an i7-860 with 8gb RAM. I have an ATI card for the moment because I purchased it before I started editing, but I'm going to be picking up an Nvidia card of some sort for sure. Do you happen to know anything about my edited questions? I am not an editor, so I don't want to post any bad info. I do, however, support video editing and 3D graphics from an IT standpoint. The 3D boxes I built for my consulting client are dual socket Xeons, with 6 cores a pop, 48Gb of ram, and a Geforce GTX 580. The 6 series GF cards (Kepler) on the market do not have the compute performance of the older Fermi (4xx and 5xx) cards, which is why you saw benchmarks suggesting that. IIRC, Nvidia lowered the clockrate and doubled the CUDA cores on the 6 series, so its about a wash or a bit slower than a 580. Big Kepler isn't out yet, and might only be in Quadro/Tesla cards that are due later this year. Don't go nuts and drop $500+ on a Nvidia card before you know for sure it will help. Are you rendering in Premiere? Or are we talking After Effects or another app?
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Sep 3, 2012 04:51
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mayodreams posted:I am not an editor, so I don't want to post any bad info. I do, however, support video editing and 3D graphics from an IT standpoint. The 3D boxes I built for my consulting client are dual socket Xeons, with 6 cores a pop, 48Gb of ram, and a Geforce GTX 580. The 6 series GF cards (Kepler) on the market do not have the compute performance of the older Fermi (4xx and 5xx) cards, which is why you saw benchmarks suggesting that. IIRC, Nvidia lowered the clockrate and doubled the CUDA cores on the 6 series, so its about a wash or a bit slower than a 580. Big Kepler isn't out yet, and might only be in Quadro/Tesla cards that are due later this year. Interested to know why you go with a GeForce card instead of a Quadro card when you're outfitting your guys with Xeons and 48gigs of RAM. And I'm not phrasing that sarcastically...I'm actually interested as it's something unique to a situation that I'm about to run into.
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Sep 3, 2012 05:41
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BonoMan posted:Interested to know why you go with a GeForce card instead of a Quadro card when you're outfitting your guys with Xeons and 48gigs of RAM. And I'm not phrasing that sarcastically...I'm actually interested as it's something unique to a situation that I'm about to run into. Because there are only minor, or no, hardware differences between Geforce and Quadro cards, and for the application (3D Studio Max), there is no tangible benefit to a $2000 Quadro over a $500 Geforce one. In other apps, like Pro Engineer / Wildfire, there are tremendous gains using the Quadro drivers, so it's highly dependent on the application.
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Sep 3, 2012 05:50
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From my understanding of the subject, the model number has far less to do with the amount of performance gained. The biggest increase would be the quality and amount of ram on the card, i remember reading the difference between it having DDR3 to DDR5 was fairly important, as well as the overall memory capacity of it. Here's a link that can explain it a lot better than i can: http://www.studio1productions.com/Articles/PremiereCS5.htm Also remember, you don't need an officially supported card to use the mercury playback engine: http://blog.krama.tv/hacking-adobe-premiere-cs5-to-enable-more-nvidia-cuda-cards/
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Sep 3, 2012 10:50
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Yip Yips posted:(borderline hardware forum question incoming) You've got your hard drive situation sorted, right? You're not reading from the drive you're writing to, and all your software is on a separate drive as well?
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Sep 4, 2012 13:46
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So as an Adobe Creative Cloud member, I have three or four different tools in which I can do video color correction or filters: Premiere Pro After Effects Speedgrade Photoshop (probably the least supported but it's there I guess?) Could anyone run down the pros/cons in selecting any of these over the others? I'm editing and color correcting/grading DSLR footage for the most part. The workflow I presume I should use is: Import all footage into Premiere, cut it into a rough cut. Export that into After Effects to apply film grain/filters, do some clone stamp blemish removal. Export that into Speedgrade (assuming I can go from AE -> SG) for color correction, legalizing colors for broadcast, etc. Then I render from Speedgrade to final output (Vimeo/Youtube/BluRay). I'm impatiently waiting for Lynda.com to put out a Speedgrade training session (I didn't like the one on AdobeTV), though I'm tempted to try the one at Video2Brain if Lynda keep dragging their feet. Thanks for the awesome thread everyone.
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Sep 14, 2012 18:27
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I would cut AE and Speedgrade out of your workflow and just roundtrip from Premiere to DaVinci Resolve Lite and back. Speedgrade doesn't even have curves adjustments.
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Sep 14, 2012 18:36
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I have a question that perhaps you guys would be able to help me with. I was working on a small video using captured footage from Dxtory that was captured using the x264vfw - H.264/MPEG-4 AVC codec. I opened it up in Premiere (5.5) and the length and audio is fine but the footage is all black. Am I missing a plug-in here? Or am I using the wrong tool for the job. This is really my first time using premiere so apologies if I'm retarded.
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Sep 28, 2012 06:38
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Blckdrgn posted:I have a question that perhaps you guys would be able to help me with. I was working on a small video using captured footage from Dxtory that was captured using the x264vfw - H.264/MPEG-4 AVC codec. I opened it up in Premiere (5.5) and the length and audio is fine but the footage is all black. Am I missing a plug-in here? Or am I using the wrong tool for the job. This is really my first time using premiere so apologies if I'm retarded. Is premiere  ? Sometimes that can mess it up. It opens normally in quicktime player and stuff? You might want to try transcoding the footage to pro res or something and then try opening it.
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Sep 28, 2012 13:14
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My legit Creative Cloud Premiere install regularly forgets that it's legit and self de-authorizes, losing all codecs. I don't know why it happens but it's loving annoying.
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Sep 28, 2012 16:45
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