Alex Elkins
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You can copy and paste the keyframes from one clip to all of the others.
Add keyframes to your first clip, then copy.
Select all of your clips except the one you just copied and press Alt+V.
Tick the checkbox called ‘Basic Motion’ and press ok, ensuring that ‘scale attribute times’ is also selected.
Done!You’ll have to go through it and check that all the movements work nicely as you don’t necessarily want all of them to zoom to the same position.
Alex Elkins
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[Enrico Lappano] “Is this something that a frame rate like 29.97 rather than 23.98 will accentuate on the DSLR?”
No – this is an inherent problem with the way the DSLR cameras work when recording video. Some are better than others. The Canon 1D MarkIV is one of the better ones for instance.
I agree with Shane that 5DtoRGB is worth a try, but I’d be very surprised if it made much difference with this sort of problem.
Alex Elkins
Twitter: @postbluetv
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To me that looks exactly how I’d expect a DSLR shot of a load of branches to look.
It’s not unusual that DSLR material would have aliasing like this, plus foliage (and brickwork) are notoriously bad for it – certainly doesn’t look like an interlacing issue to me and my guess is that the larger Sony monitor is just accentuating the aliasing.
Try turning the sharpness down on the Sony Bravia. This obviously doesn’t change the fact that the actual material has aliasing problems, but consumer monitors like that do tend to have the sharpening up fairly high by default, which could be skewing your judgement of it.
OR…
I could have it completely wrong, and the image you’ve posted isn’t telling the whole story. Are you seeing similar issues on other shots? (ie shots other than branches).Alex Elkins
Twitter: @postbluetv
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[Enrico Lappano] “don’t know why I’m getting these lines, particularly on tree branches in forest scenes.”
Could you post a screenshot?
Are you able to set the Blackmagic card to monitor 29.97p rather than 59.94i?
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
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Did you use Final Cut Pro to pull the key? Your problem is caused by the key not being clean enough. It could be a simple fix or it could be very fiddly depending on how well-lit the background is and how dissimilar it is to the subjects.
I’ve done similar things in the past and found one of the best options was to key using the Color FX room in Apple Color and then boost everything until the selection goes pure white.
Another option is After Effects. Roughly cut around your subjects using the pen tool, then use one of the many chroma/luma keyers to pull the key. Thanks to the masking you only have to key out the kits left inside the mask after cutting around the subjects.
Let me know if you need me to expand on either of those suggestions. I didn’t want to go into too much detail in case they’re what you’re already doing. Bottom line is you need to key out the white better.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
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[Sai Kelly] “Is there any way to replace the footage thats in the timeline with converted footage i.e. H264 to Apple ProRes to avoid a complete re-edit?”
Media Manager is the most efficient way to do this. However you’ve said that this process seemed to be failing. Did you try using Media Manager after changing the sequence settings to ProRes?
The next best way is to transcode everything to ProRes from the camera originals. It sounds like you have around 12 hours of material, so depending on your computer you’re probably looking at about realtime conversion speed. The converted files will come to about 1TB of total data, which isn’t too bad.
Don’t convert to ProRes 422 HQ – just use standard ProRes 422. You will gain nothing converting DSLR footage to ProRes HQ over normal ProRes.
Those are the only two options worth considering. Everything else will result in an extremely long, manual process. I’m not even going to ask why you chose to edit h.264 files on your system drive!
All the best
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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Latest work: Greyhounds in Motion at 500fps
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[Mark Suszko] “you (at least used to) call it “Joining””
I never knew that. You learn something new every day!
Anyway, apologies to the O.P. for hijacking the thread!
FWIW, I tend to agree with the others regarding the sight flaw in the business model. However, I personally know someone using this sort of model for wedding videos and it works quite well. Turnover is high, but so are the expenses in paying freelancers. The trick, as has been pointed out, is not only to generate the clients, but to make sure you do something unique enough that you as the agency can’t be replaced. Maybe a deal with a big property website giving you exclusive video rights in exchange for a share of your profit?? That gives you something your freelancers and other production companies don’t have…
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
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I must say that I think the US term ‘B-roll’ is a far better description than GV [General View].
I have no idea why we use different terminology within cinema/filmmaking. Perhaps the french term for ‘B-roll’ is closer to ‘general view’. It’s the British way to adopt the foreign term, whereas the US style would generally be to rename it to something more descriptive and logical.
We also call dailies ‘rushes’. Again, dailies is probably a better description. I think ‘rushes’ comes from the idea of ‘rushing’ exposed film to the lab after shooting.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
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[Todd Terry] “I’m glad someone else chimed in and didn’t know what a “GV” is either… I was having one of those “Everyone knows something that I don’t know” moments.”
GVs are what us UK peeps call B-roll.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
My Vimeo Pro page -
[Tom Sefton] “Just a curious thought Alex – do you think that FCPX “slowly but surely will work its way into the edit suites of higher-end video creators in the same way the original FCP did?
I do think FCP-X will begin to regain a lot of the ground its lost, yes. Just comparing my Twitter timeline now against a few months ago I’m seeing more and more people talking about using, and often liking(!), FCP-X for certain projects. I personally don’t use it having switched from FCP7 to Media Composer, but I can see FCP-X improving to the point where people are prepared to seriously consider it again.
[Tom Sefton] “it seems that many are pretty annoyed at apple and have gone as far to purchase windows machines instead.”
I know a few people have switched to Windows, but I feel like generally the vibe is that people are, for the first time, contemplating a switch to Windows, rather than there being any kind of mass exodus of people actually switching. At least right now that’s the case. The bottom line is that lots of people like OSX more than they like Windows, and it’ll take a lot to change that.
[Tom Sefton] “Wasn’t the marketplace that FCP entered a very different one, at a very different time?”
Yes – back then Apple was a relatively small fish in a huge pond. These days Apple owns media distribution. They are the company you and I have to go through to be successful content creators. And if we’re not earning directly or indirectly via Apple now then we probably will be in a few years time. The only thing Apple doesn’t have a serious hold on is corporate video, and I’d put money on saying that that’s what FCP-X will be mainly used for in the future.
[Tom Sefton] “Apple won people over with FCP by releasing a superior product to a marketplace that was saturated with their hardware.”
I’m not sure I’d call the original release of FCP superior. It was a lot cheaper. So is FCP-X, albeit to a much lesser extent.
[Tom Sefton] “Next time around, will there be as many Mac Pro suites with Mac OS on?”
Great point, and it’s the one area where Apple may have shot themselves in the foot slightly. That said, I think Apple believe that an iMac is good enough for FCP-X (which is probably true for most users thanks to Thunderbolt). The point really is that Apple don’t need to concern themselves with the tiny minority of people who need more horsepower than a multi-core iMac with Thunderbolt can provide – and if they are concerned then they’ll release a new Mac Pro, in which case you can be damn sure the OSX loyalists on high-end Premiere and Avid suites are going to forget all about a possible switch to Windows.
[Tom Sefton] “I am really looking forward to seeing what adobe and avid do to try and wrestle control of the creative markets”
Same here. I really hope both companies come out well from the whole thing. I’m pretty sure Adobe will. Avid may need to rely a little bit on loyalty from their long-term customers if they don’t make a big enough improvement to Media Composer shortly after CS6 comes out.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
Post Blue showreel
Latest work: Greyhounds in Motion at 500fps
My Vimeo Pro page