Andrew Rendell
Forum Replies Created
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When you’ve chosen your framing (and whatever moves you might want to do) in FCP or Motion, why not export the clip from the timeline as a quicktime (lift it up a layer and extend it a second each end to give yourself handles), then bring that back into FCP and use it to replace the still?
3 or 4 years ago I was using Stagetools MovingPicture to make AVIs to import into Avid in the way you describe, but I do that now.
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Just being pedantic here, but track 1 should come out of whichever device you’re using’s track 1 output, 2 out of 2, 3 out of 3 and 4 out of 4. I suspect that you’re not monitoring the 4 tracks appropriately, e.g., your computer’s speakers will be stereo (tracks 1 and 2) so you won’t hear tracks 3 and 4 as there are no speakers 3 and 4 for those tracks to be heard on, you won’t hear them unless you tell the computer to give you a stereo mix… do you have monitoring which allows you to either choose which outputs of the matrox to hear or mix them together?
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You can rename the clips in FCP7 as clip name and file name doesn’t have to be the same. You have the option to rename the files to match the clip name (which you don’t want to do) or rename the clip to match the file later. I think this was the case with FCP6 as well, but not before that though.
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Web cams are pretty low resolution, so exporting it to a file with a size of, say 320 or 240 pixels on the long side and then importing that would probably do it. Maybe go to a codec that gives you a low quality option, e.g., H264, then convert it back to ProRes to get some concatenation errors as well.
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Just googling “mac avc1 codec” finds a couple of sources, e.g., https://www.macupdate.com/app/mac/23875/avc1decoder/
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A quick google finds that the original Sony Digibeta camcorder was the DVW-700 (no mention of 16:9) and that was followed by the DVW-700WS, which was switchable for 4:3 or 16:9, so I guess that the -WS version is where the 16:9 chips came along.
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It’s not entirely clear from your post, but I’m assuming that by outputting you mean you’re going to tape.
Speaking in very broad terms, the green line means that the computer can play back the composition in real time when you’re editing, but it’s making some technical compromises to do so and it needs to be rendered before you can play out to tape. Select the clips with the green bar and render them and I expect that it’ll play out ok.
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I can’t actually remember whether there were any DigiBeta cameras that had 4:3 chips in them. DigiBeta was launched in 1993, so that was about a year after the european “16:9 action plan” was launched. 16:9 SD got going in the UK, Australia and quite a lot of europe quite quickly so there was demand on this side of the pond for 16:9 DigiBeta in PAL right from the start, but it didn’t in the USA so there wouldn’t have been a marketing requirement for NTSC versions to have 16:9 chips.
I guess that researching Sony camcorders of the 1990s would provide an answer. (There have been other manufacturers in the DigiBeta market, e.g., Ampex and Thompson, who were mostly badge engineering Sony kit, Ikegami were around but I can’t remember what they had in the way of 16:9 SD).
They’re standard definition cameras because the pixel count and the broadcast bandwidth is the same as 4:3 standard def.
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You should tell your editors to track lay properly as they go. It’s not hard – I do it all the time. I’ve had to pick up a job from another editor a few times and occasionally pass things over to another editor for something I’m cutting and it irritates the hell out of me if they don’t tracklay the way I want it.