Aaron Neitz
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After Effects Coin
Forum Replies Created
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[walter biscardi] ”
Well, it’s just that speculating on what Apple will do and when they will do it is such a useless excersize when it comes to ProApps. Two years ago “Final Cut Extreme” was a sure thing. Never happened. It was a possibility again this past year. Didn’t happen, in fact nothing happened unless you’re completely sold that RED is the second coming of the messiah.”You’re right as always, Walter. It is useless wondering anymore… the scrappy junkyard dogs are suddenly rolling around in hype, money, and iXXX’s. Studio is not big $$ maker = not a priority.
if I were avid, let’s say, i’d be furiously coding some revolutionary media composer to come and steal our hearts. if I were avid.
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Whoah guys, sorry I brought it up
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This might work better:
Modify the timecode of your quicktimes to match the Beta master. Assuming your timecode is offset by the same amount.
Then you can make a new EDL and no need to hand fix the old EDL
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no panic, simple explanation:
when you’re in SD, there’s often a way of working in 16×9 that’s called anamorphic. SD can’t be anything but 4:3, so to squeeze all that horizontal resolution out they simply squish your image into that 4:3 box. The computer or TV needs to know that it’s squished (anamorphic) and automatically stretches it out to a letterbox presentation.
So in Sorenson you need to tell it that this needs to be unsquished and played as 16×9. Instead of 320×240, you’ll end up with 320×180 (or something to that effect.) Also when brining footage like this into FCP, there’s a box called “anamorphic” in your bins that you need to check. Then FCP will know what to do!
hope this helps!
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Try pressing “f”. That’s Match Frame. It will take you back to the original footage, you can edit IN/OUT, and put back into the timeline.
double clicking a clip opens that particular instance of that clip… so In/out changes reflect on the timeline
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I’d say 50%. 480 x 150% = 720.
yea, nay?
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Sure. Just export a self-contained quicktime of your entire piece. Bring it back in, overlay it on the edited timeline, and snap to your edits and hit control-V to add edits to your quicktime.
clear out everything but the now notched quicktime then you can send that over to color.
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I think what Tim is seeing are mild “ghosty” lines/artifacts that appear around especially contrasty and hard edges(i.e. Graphics and text). I see them too.
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ha!
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Hummmm… it’s really hard to say. 23.98 and 29.97 are analogues of each other. If sound is syncing at 29.97 and not 23.98, there’s got to be a mismatch between sequence settings and your media. I’m out of ideas!