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This may be of interest to this thread. http://www.youtube.com/watch?v=kfFj5luBM0E&sns=fb Incredibly nerdy, done by somebody at ITV here in the UK.
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Dec 20, 2011 17:14
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We've got a Soundtrack Pro AppleScript droplet that we've created at my place of work which does some nice subtle compression and amplifying of audio, and we're applying it to a stereo mix of our videos, exported from FCP's Audio to AIFF option. It saves the modified one over the audio you exported, which you can then drag back into your project and put on your video, then re-export the whole lot. It works, but it's fiddly. If there's a way to convert that droplet into an FCP audio filter, then we could just nest a sequence and drag the filter to it, then export the whole video. Any ideas?
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Jun 25, 2012 14:00
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There's over 10 gig of ram in the Mac Pros of myself and my colleagues at my workplace and we use FCP7 for all our editing work. Is that RAM wasted? We use Compressor and Handbrake and sometimes MPEG Streamclip as well, and very rarely After Effects or motion. Not sure if they'll benefit too. OS X flies though 
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Mar 26, 2013 20:23
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Incredibly quick question for editors, I'm making a countdown slate in After Effects, just to do some learning (I'm coming from Motion). I'm used to seeing 16:9 Full Height Anamorphic on slates before, but all of our work is done in 16:9 full frame, and I'm not sure what the term is for that. Do I just put "16:9 full frame"? edit: ie non anamorphic thehustler fucked around with this message at 21:33 on Apr 23, 2013 |
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Apr 23, 2013 11:54
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When we do edits for people at my place of work (mostly interviews and then we add cutaways over the top), we capture all the footage from P2 cards (we use FCP 7 exclusively), burn in a timecode reader filter, upload to a private youtube link/burn to a DVD, and send them that plus this Excel form: Is there any way I can get from that into an EDL that I can load into FCP7 and have it just make the cuts on the timeline. I'm aware that sometimes the edit will contain footage from more than one source clip, so I can add extra columns if necessary to contain a clip ID but these edits get done by people who are not really tech savvy so we like to try and keep it as simple as possible. The clip number on the first column is just the order to do the edits in and doesn't refer to an actual captured clip (thought I'd mention that so there was no confusion). Usually we do this manually from the form so any way to automate this would be great, and then we can just go through each edit point and fine tune where necessary. This is all on one track by the way, we generally do any cutaways on V2 after we get the interview clips/order right.
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May 30, 2013 13:33
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Is there any way to drag a FCP 7 sequence into a Motion template drop zone? We have templates for the lectures we film at our university (slide track and a video track) and we have to export them out before dragging them into the drop zones on our final exported video (where you can see both videos, one in each corner kinda thing). Usually we use non self-contained videos for the export but if you've done any kind of filters (colour correction etc) then it's a moot point as it writes out the full thing anyway (unless you render, in which case you may as well leave the self-contained box ticked. If you could drag a sequence into the drop zones (in the "controls" tab in the viewer) then that would be awesome, because it'd just have to render everything once when you do your final export.
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Jun 27, 2013 11:56
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Needed a new wallpaper, so did a re-edit of the "Compiling" XKCD cartoon. Thought some people here may like it. http://imgur.com/h5JLgFz
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Oct 29, 2013 15:19
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Does anybody have one of these? http://eshop.macsales.com/shop/SSD/PCIe/OWC/Mercury_Accelsior/RAID They are an SSD that goes in an PCIe slot. Have they improved your rendering/exporting speeds? Surely it depends on what drives your source material is on? If they are on slower drives then surely any benefit is going to be cancelled out? I'm having arguments with my colleagues because they believe that installing OS X and the apps on the SSD will be a significant upgrade for us, and I'm arguing that it will improve boot times and app loading times, but if our scratch drives are still on normal mechanical HDDs then there's no improvement. Qmaster uses the OS drive by default so that would probably be something that is improved, but again, if the source material in Compressor is being read from a slower mechanical HDD then there should be no improvement. There's no information on the internet from people using these in a production environment, just reviews talking about the raw speed in benchmark numbers. So I reckon the only way to make this worthwhile is to repurpose another of our SSDs as a scratch drive, and writing the final finished file to the new SSD. That way rendering/exporting from Final Cut will be sped up significantly as everything is on SSDs. Any thoughts? I realise this is one of those things that entirely depends on system set up and how people have things organised but it's driving me mad trying to figure it all out. All of the logical circuits in my brain are saying to me that there's always one bottleneck and it's the slowest thing that does the damage. thehustler fucked around with this message at 16:51 on Oct 29, 2013 |
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Oct 29, 2013 16:49
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Mmm, fully aware CPU is going to be a factor. Not sure how much yet. Will benchmark!
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Oct 29, 2013 19:30
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It also breaks Qmaster too. Mavericks. Not app nap
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Oct 30, 2013 21:16
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Even though we use FCP7 is QMaster likely to be fixed?
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Oct 31, 2013 20:02
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Quick After Effects question: I have nested a comp (call it A) inside a comp (call that B). I would like the A comp to start from the beginning at the point where it comes in on the B Comp. But it doesn't. It seems the running times for both comps start at the same point. So when the A comp comes in 15 seconds into the B comps timeline, it's already run 15 seconds itself. I can get around this by shifting everything in the A comp 15 seconds to the right, but it's very inelegant. Is there a way to fix this properly?
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Nov 12, 2013 11:37
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Well the question is irrelevant now because I found out what I'd done wrong. Somehow, after placing the comp A inside comp B, i'd grabbed the handle and trimmed it by dragging it to the right, rather than grabbing the bar as a whole and dragging it to the right. There's a little tick mark that denotes the start of a bit of media, be it a comp or a video, and that wasn't there. Asked a colleague who sits near me and he spotted it right away. So the nested comp wasn't starting at 0 seconds to start with! So stupid 
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Nov 12, 2013 15:44
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Does Compressor 4/QMaster cache your conversions? Ran a 41 minute file through as 720p H.264: 6m30s The second time I run a conversion on the same file, it takes less than 30 seconds. Caching is the only answer I can come up with.
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Nov 14, 2013 15:30
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Me too. Is there audio on DSLR? It should be possible to get it accurate to within a few frames which may be enough sync for something like that, and you can manually adjust back and forth a few frames if it doesn't "look" right. It's like half a day's work, maybe not even that. Show us when it's done?
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Dec 19, 2013 10:48
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Hey, can DSLRs do free run or is it rec run only? Doesn't help with this post-event, of course, just for my own information. But for something like a concert if you can get them all synced up it'd make it easier.
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Dec 19, 2013 10:53
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Really annoying FCP7 problem I'm having, if anybody has any ideas: We film lectures at our uni, and we take people's Powerpoint slides and export them as 960x720 TIFFs to be imported into a timeline and synced up with video of the lecture. And then both tracks go into a Motion template for the finished product. First thing I do when I import the slides into my bin is change the aspect ratio from HD (960x720) to square, otherwise they look widescreen, not 4:3. I have fit to fill bound to a key so I can set an in and an out for each slide, based on when I can see the slides changing on the projector screen on the video of the actual lecture. But when I hit the fit to fill key, they get sent to the timeline as a widescreen clip. So I'm finding myself selecting all the slides when done, doing remove attributes/distort, and that fixes everything. Any ideas why they won't go on the timeline with the aspect ratio I've set in the bin?
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Jan 8, 2014 11:10
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WebDog posted:What's your project settings set to? As that will generally dictate what dimensions and ratio a new sequence will default to. The sequence is set to HD (960x720) with the aspect ratio set to square pixels, 25fps Progressive, ProRes LT. So exactly the same size and ratio as the slide images. Our default sequences are usually 1280x720 for our final exports, but I manually change them to 960x720 square for the slide track as that's how Powerpoint exports the TIFFs.
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Jan 8, 2014 11:53
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WebDog posted:So if I'm reading it right. Well, to clarify, in our project we have 3 sequences. First one, called Mixed, is the intro graphics, then an apple motion template with 2 drop zones (slides and lecture hall vid), then the end credits (in that order). Sequence is set to 1280x720/25fps, Prores LT Second one, called Video, is the video from the camera in the hall, this is DVC Pro HD video, anamorphic 960x720/25fps. We keep it like that during the edit so there's no transcoding involved, and when we drop it into the Mixed sequence and export, FCP handles it like a champ. Third one, called Slides, is the slides as already discussed. 960x720, Prores LT, square aspect. The slides show up fine in the viewer when I double click them (after changing their aspect ratios to Square in the bin) but it's after I do a fit to fill that they go into the sequence in 16:9, despite the sequence being 4:3. Does that make it clearer? And is there anything obviously stupid that I'm doing? Doing the Fit to fill is the only problem I get using this workflow. Edit: In Audio/Video settings I have my default sequence preset set to Prores LT 1280x720 25fps. So an Apple-N gives me that sequence and then I can make any manual changes I want (such as when making the Slide sequence) thehustler fucked around with this message at 12:31 on Jan 8, 2014 |
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Jan 8, 2014 12:27
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Well we want the final video to be widescren because it looks nice Example here: http://vls.uclan.ac.uk/Play/8845 You can see the elements there. I lied by the way, there are four dropzones, because we have 2 for the reflection. So we drop the video into the main one and the reflection, and the slides into the main one and the reflection. If what you're saying is correct, if I set the Mixed sequence to 960x720 just as a test, and set my default sequence in preference to be the same, and then try putting slides on the slide sequence, maybe I'll see them added to the timeline in the correct AR. thehustler fucked around with this message at 14:05 on Jan 8, 2014 |
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Jan 8, 2014 13:40
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I'm not sure I'm really understanding why you're saying that everything must conform to be the same, surely if they're on separate sequences the only thing that matters is the particular sequence's setting? Those TIFFS are 4:3 tiffs, and for some reason when I import them in they show in the bin as HD (960x720) - hence the need to right click and make them square instead. And so after I've done that, and I fit-fo-fill them onto my sequence, that's when they get made into a 16:9 clip. Incidentally, it is ONLY fit-to-fill that does this. If I manually drag things onto the timeline, they go on just fine and use the attributes that the bin columns say they have. The video and the slides sequences get exported separately and then I drag those .movs back into the same project so I can put them in the dropzones. (incidentally, why can you not drag sequences into motion dropzones. Grr) Edit: I will have a play though, thanks for your advice!
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Jan 8, 2014 16:29
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Thanks. Makes more sense now. I'll have a play
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Jan 8, 2014 18:15
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Webdog: http://support.apple.com/kb/TS1958 Maybe this is the reason for my issues. It's just because it matches a known size for videos, not that it's trying to match a sequence preset. I just tried to do the same workflow but with different sequence preset selected and it did the same thing. But when I tried importing TIFFs at 1024x768 instead, they got detected as square pixels and fit-to-filling them onto the 960x720 timeline put them in as 4:3 (obviously scaled down to fit the sequence). So it's just because that 960x720 makes FCP think "OMG VIDEO!" that fucks it up. Edit: Yeah, that's definitely the issue. I can live with it. It's not a huge problem. I'm not about to start batch-resizing slides when apple-a/remove attributes takes me 5 seconds. But I'm glad I've found out what the problem was.
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Jan 9, 2014 11:46
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My colleague put a Dazzle filter on a clip in FCP 7 to make some of the parcans and spotlights in shot have star-like trails, and it detected the back of my head (I was at the front doing closeups and I am quite bald and very touchy about it...) as a highlight and put a star on it. Not happy and just wanted to rant. loving filters.
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Jan 13, 2014 12:52
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1st AD posted:You can export your sequences directly to Compressor, no need to render in FCP first. Doesn't this take a stupidly long time, or did FCP X fix that?
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Jan 16, 2014 20:45
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Interesting. I'd always been led to believe that using send to Compressor was a bag of wank.
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Jan 16, 2014 21:57
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My kingdom for a method of getting my Motion 4 Drop Zone templates into FCPX. I have Motion 5 and tried loading the projects in and then republishing them but there doesn't seem to be a way to replace the drop zones with videos in FCPX. The drop zone images just show up with no way to swap them out. Edit: My colleague assures me that if you replace the drop zones with new drop zones in Motion 5, then it works, but there's no way to copy the attributes (paths and motion etc) to the new drop zones so we're back to square 1. thehustler fucked around with this message at 10:26 on Jan 27, 2014 |
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Jan 27, 2014 10:15
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Fixed my Motion problem. "Publish" is the thing to get your dropzones working. Find it in the inspector.
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Jan 27, 2014 13:36
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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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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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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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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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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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RaoulDuke12 posted:Sorry, I was using "originating" as a source from your timeline on final output rather that the literal source. My point was that yes, you're right, it doesn't generally make much of a difference at all. Ahh, understood. But yeah, this was all about getting 4 years worth of conference footage in both SD and HD onto one 2 TB HDD. Recompressing the ProRes as ProRes LT will make it all fit and you really don't need the quality for it. It's all done now, thanks for your replies!
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Apr 16, 2014 10:31
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1st AD posted:Why aren't you rendering direct to mp4 or Media Encoder instead of outputting a QuickTime? QT sometimes does a gamma shift which will gently caress with your footage. Interesting. Why does that happen?
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May 3, 2014 09:06
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No joke, if I move from the UK to Canada, which is a dream of my wife and I, then the one thing I'm worried about is working with non-integer frame rates. Is it a pain in the arse?
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Jun 11, 2014 22:45
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Overused? Not sure what specifically you mean, which shows in particular?
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Aug 2, 2014 17:37
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I did wonder if it was that. Static city shots with fast moving cars use it a lot
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Aug 2, 2014 22:53
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| # ¿ Apr 26, 2024 00:20 |
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What's with that editing technique where the audio changes to the next scene before the video does? What's that called and why is it done? It confuses me.
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Aug 19, 2014 22:39
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