Alex Elkins
Forum Replies Created
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The quickest way is to select the edit either by clicking or shortcut ‘v’ and then just press ‘backspace’ to delete the cut.
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I’m not an expert on this subject at all, but from what I’ve found the answer is yes. I’m assuming that the deck must support it also.
I recently came across a problem where we were using a different deck from normal, and it was getting confused with the timecodes. After hours of shouting at the computer I discovered that in the Audio/Video settings window under VTR settings you can edit the setting to output either LTC of VITC (or both) timecode. The problem I was having was that the deck wouldn’t read VITC properly.
I’m not sure whether this in any way answers your question but if it hints at an answer then get in touch and I’ll try to explain better the process I went through to sort the problem.
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I don’t think you can export a normal quicktime movie with an alpha channel (someone correct me if I’m wrong!)
What you can do is go to File>Export>Using Quicktime Conversion and change the compressor settings to ‘Animation’ with Millions of Colours+ (the ‘+’ meaning plus alpha). This should export a file with an alpha channel which will still open in Quicktime. You’ll just have to render when you put it back onto a timeline.
Forgive me if any of this information isn’t correct as I’m just going off the top of my head here as FCP is busy capturing some stuff.
Good luck,
Alex -
I thought so. It would be a handy little feature though. Thanks for the speedy response.
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Hi Rod,
I was asking about this yesterday and the straightforward answer I got that works fine is to export a batch list from FCP, then open it up in Excel. Do your logging in that, and import back into FCP. Voila! All your clips are there as offline files, ready to be batched.
There are a couple of things to bear in mind doing this – first you would be best opening a new project and hiding any columns that you won’t want to log – in my case I only needed ‘Media Start’, ‘Media End’, and ‘Reel’.
I’d also suggest importing a random clip into the project first as you can then use its settings as your template.
Obviously also remember that the logs need to be frame-accurate, not just hours and minutes.Hope this helps.
Regards,
Alex -
Nice one, thanks Kevin.
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Thanks Jeremy, that sounds simple enough. Should save quite a lot of time, thanks.
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Just a follow up for anyone reading this – the change in sequence settings from compressor = Pro Res to compressor = Uncompressed 8 bit isn’t exactly what solved the problem. It is actually to do with setting the timeline to render in 8 bit YUV rather than 10 bit (under the video processing tab).
So practically this means I can render using Pro Res, thus saving huge amounts of storage space, but as it’s processing 8 bit, not 10 bit (10 bit being native to Pro Res) it can process a lot more things in real-time.
For the record, what are the technical differences between 8 and 10 bit? I can’t physically see a difference, so in real terms is it comparable to the minute difference between Pro Res and Pro Res HQ? Presumably 10 bit is necessary when working with 4:4:4:4 footage or similar? I haven’t got my hear around all of this so if someone could straighten it out it would be much appreciated.
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Martin, you’ve just saved me a hell of a lot of rendering!
For the record, here’s what I’ve done;
Editing PAL Pro Res material using a timeline based on the prompted settings – Upper Field, Anamorphic, Compressor = Apple Pro Res
Changing sequence settings to compressor = Uncompressed 8 bit actually made things worse – the entire timeline goes to preview quality, even bits without graphic composites.
BUT
Then changing field dominance to Lower has put the whole timeline to ‘RT Full’ which means no rendering. Fantastic! -
Hi Jeremy,
I see what you’re saying, that makes a lot of sense. So a faster processor would avoid that?