Andrew Rendell
Forum Replies Created
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The standard colour corrector in FCP is a bit limited for badly overexposed stuff. There’s a couple of free plugins that might help though: Captains Blowout Fixer and Lyric’s Shadow-Highlight (google those, they’re free downloads).
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I like to suggest 2 types that I’ve been using recently:
Sennheiser HD480
(got some of these knocking around at work, a good workhorse IMO and you can get them level limited which is good for protecting your hearing)Audio-Technica ATH M50
(my current favourites) -
My guess is that it’s the computer’s headphones output that is getting the interference, so what I’d try is getting hold of a simple USB audio adapter, then run a long enough USB cable from the computer to it so that you can place it close to the ‘board and use the shortest possible length of analogue audio cable to connect it in.
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Have you looked at “itunes U” (the educational section of the itunes store)?
I can’t vouch for anything on there as I haven’t watched any of it yet, but I see that if you search for “film editing” and choose “itunes U” in the filter section, some things do come up which might hit the mark for you.
Good luck in your search.
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FCP will add a shift fields filter if your source media is upper and the sequence is set to lower, or vice versa.
AS the established international standards defined an interlaced frame as field 1 (which has certain defined aspects to it) followed by field 2 (with slightly different properties) and the standards are easily available (e.g., ITU-R rec.601), no one has ever adequately explained to my why the DV format chose to encode fields the “wrong way round” or why manufacturers deliberately obfuscated the issue by inventing terminology such as up/down, top/bottom and even/odd for what was perfectly easy to understand beforehand. I hope that doesn’t sound like a rant, I don’t really care that much about it, I’m just still slightly curious after all these years…
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I’m just going to wait and see – I’m busy using FCP7 and Avid, so there’s no rush for me.
Also, I collaborate with others regularly (importing from and exporting to other software), so being sure that what I use integrates smoothly with what the other people I work with are using is very important (TBH that’s the usual reason for how I decide whether to use FCP or Avid on any particular job).
[My name is Andy and I’ll use whatever the f*** it takes to get the job done, the only things I care about are the pictures and sound 😉 ]
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Errrrrrr, I had an error -50 last week when I was writing a big file onto an external drive. TBH, I worked around it without ever finding out what caused it. I’ve got two suggestions (which worked for me although I couldn’t say whether they’ll work for you): the first is to set the destination for Compressor to be your desktop (so that the file you make goes onto the internal drive) then copy the file onto your external drive (assuming that’s where you want it to end up) after it’s been made. The 2nd is to do a repair on your drives in Disk Utility, I think that helped my system.
Good luck.
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Well, strictly speaking, the H.264 codec offers a variety of settings so AVCHD isn’t the same from all manufacturers, or even for all cameras from the same manufacturer. I’ve used AVCHD from a Canon 5D and a T2i and Canon’s plug-in for those works very well (so no messing about outside FCP), but I’ve also had AVCHD (in fact I’ve got some in the project that I’m working on at the moment) which had to be converted outside of FCP before it would import.
So it’s not impossible that FCP will Log & Transfer the “.mts” files from a Canon Vixia, but I’d be surprised if it did.
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No, you will have to use some dumb third party software. Lots of us use MPEG Streamclip for this kind of thing, although I believe that Canon do a VIXIA video converter themselves.
Basically, if you want pro level facilities like the video just dropping into your editing software, you really have to buy a pro level camera. Sorry to be the bearer of bad news.
Have you looked at Shane Ross’ article here? https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
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I’ve been using Sony XDCAM Transfer; select Import – XDCAM (the transfer window opens) – click Add and choose the folder with the media in it – select the clips and click Import (it makes copies of the media files that are wrapped as “.mov” and brings them into your project).