[Accountneedsrealnameupdate]

I recently discovered the ability to rename footage in the project window and hate it, we have had so many disasters with this in final cut pro, I firmly believe you should not change the name of footage in a project, use labels if you need to distinguish between instances of a footage file!!

[Accountneedsrealnameupdate]

Thanks for pointing that out, I’m getting really tired of luma issues in Final Cut Pro. Someone was being a real dick there too, don’t you hate it when people use these forums to try and show off instead of actually helping?
Glennser

[Accountneedsrealnameupdate]

I’m coming to this post late, good question, I’ve never heard of any licensing like you mention but I’m disappointed you got such off-topic responses, I thought your question was well framed and quite relevent to users here. For the timecode would it not just be VITC and in the video signal anyway?
Glenn Stewart
1k Studios

[Accountneedsrealnameupdate]

What codec is your source? There is a known problem with quicktime’s RGB to YUV conversion, we had the same problem when trying to compress animation codec files, switching to the decklink 10bit codec fixed it, I’m sure the apple uncompressed 10bit would work too.
Glenn Stewart
1k Studios

[Accountneedsrealnameupdate]

We could definitely use dpx, JPEG2000 would be great too but I’m not completely convinced the “Lossless” setting is truly lossless (anyone else play with it much?) The more options the better as far as I’m concerned, and yes image sequences and final cut pro are not a nice mix, I recommend trancoding to a self contained quicktime.
Transcoding is a pain, so is having to store multiple copies of lossless video so different applications can use it!!
Glenn Stewart
1k Studios

PS Hope this doesn’t sound like a rant, we love decklink.

[Accountneedsrealnameupdate]

Amazing!! Just yesterday in our place we were discussing how nice it would be to capture straight to dpx!! I think the bluefish cards can do it and that’s what made us think of it. Transcoding is such a pain!!
Glenn Stewart
1k studios

[Accountneedsrealnameupdate]

I wasn’t able to mount quicktimes as dpx on the PC, actually I wasn’t able to mount avi’s either but at least it seemed to start the process with them before giving a “Try again later” error. The manual is pretty vague about the Framelink application, at first I thought it didn’t need to convert anything, just tricked the system into seeing individual frames instead of a video file but after playing with it a bit it seems closer to making an image sequence into a quicktime and saving as a reference movie, anyone know what I mean? If I could get it to work I might understand it better.
Glenn Stewart
1k Studios

[Accountneedsrealnameupdate]

Great news!!
Thanks guys.
Glenn Stewart
1k Studios

[Accountneedsrealnameupdate]

I just tried this and it works fine for stills, it won’t work with video though.
Through the footage in a new comp, trim it to one frame and then duplicate it as many times as you need for each mode you want to use (depending on the footage a lot of them will look effectively the same or cause the layer to drop out completely which might be a problem) then use the keyframe assistant to sequence the layers and trim the comp to the duration of the sequence of layers.
Now nest that layer into your main comp and enable time remapping, you can then put a random expression on the time value and it will randomly jump between modes.
It is very important to collapse transformations for the nested comp or else the layer modes won’t work properly.
Hope this works, it seems pretty neat to me. There was a plugin to swap the source of the layer, think it used to be free but can’t remember now what it was called, to use it you would need a different composition for each layer mode, not sure if the collapse transformations would work properly either.
Glenn Stewart
1k Studios

[Accountneedsrealnameupdate]

I just tried this and it works fine for stills, it won’t work with video though.
Through the footage in a new comp, trim it to one frame and then duplicate it as many times as you need for each mode you want to use (depending on the footage a lot of them will look effectively the same or cause the layer to drop out completely which might be a problem) then use the keyframe assistant to sequence the layers and trim the comp to the duration of the sequence of layers.
Now nest that layer into your main comp and enable time remapping, you can then put a random expression on the time value and it will randomly jump between modes.
It is very important to collapse transformations for the nested comp or else the layer modes won’t work properly.
Hope this works, it seems pretty neat to me. There was a plugin to swap the source of the layer, think it used to be free but can’t remember now what it was called, to use it you would need a different composition for each layer mode, not sure if the collapse transformations would work properly either.
Glenn Stewart
1k Studios