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Laying off Mattes & Fills to Digibeta
Hello
I have layed off Mattes & Fills to Digi on an Avid before although its been some time – I have NOT however ever done this using FCP.
I have to say I really do love using FCP in comparison to Avid but for this project i need to layoff to Digi the spot itself with audio and slate at the front and then after that multiple elements from the spot need to follow (Mattes & Fills) + Slates to explain what each element is obviously.
What I got from the AE guy are 4 files: 1) the 15 seconds spot, 2) a comp & matte qt as well as the entire spot itself. The comp piece just looks like the spot and the matte obviously looks like what cut out piece of text and shapes on top of black.
Once i bring in this matte & fill do i use composite modes and such to make these elements work properly on the digi beta layoff or do i just lay each thing on the timeline??
i have to do this first thing in the AM and want to make sure i understand everything i need to know about laying off mattes & fills to digi in FCP
please if any could help me out or point me in the right direction of a blog or something that explains this i will be so happy!!
Lisa
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5 Replies
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Don’t over think this. You just lay each element off individually. Do not mess with the composite modes. Whoever gets this tape will do that when and if he tries to rebuild the composite. This is just to give another editor the building blocks of the piece. A tape with fills and mattes is the most compatible thing, as its not dependent on codecs or edit platforms.
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so i just bring them into an ntsc 70×486 timeline render out and lay off!??!
are u sure sir because reading osme of the other threads on this on this forum would make me think otherwise…
thank you regardless and if anyone else has thoughts or opinions on this please drop some knowledge on a youngin’
best
Lisa
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Hi Lisa,
As John says, lie everything in a 10b Unc 720 x 486 an print to video. Everything can be captured and composited without any loose afterward.
Rafael -
Its always best to start each element at a logical timecode (on the minute or half minute, for example).
I’ve had many a tape delivered to me over the years where I had to be a video detective to figure out what the first frame of the matte actually was (its not always the first frame of video if the keying occurs later) because they just layed it all out at random timecodes
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I also use a color between matte and fills
black can be so troublesome sometimes
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