Andy Neil
Forum Replies Created
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Wouldn’t it be cool if someone created an enclosure that fit over the top of the new mac pro, was hollow in the middle to make use of the mac pro’s cooling design and housed four internal drives connected by 1-2 thunderbolt cables?
Andy
https://www.timesavertutorials.com
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Did you shoot one video with two cameras, or the same video twice with one camera? Also, how are you choosing to sync the clips? Multiclips can be built in a number of ways, but without more info, it’s hard to help.
Andy
PS: BTW, it’s not a nightmare. Just open up your multiclip in the multiclip editor, add a new track and drag the second angle down to the new track. Then sync manually, or with markers or use the autosync feature to bring the clips into alignment and all will be good.
https://www.timesavertutorials.com
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If you’re scaling footage then you need to apply the letterbox effect to an adjustment layer above the other layers, or create a Motion generator effect that you can connect above all the other clips, similar to how you’d composite a png. The difference would be your ability to make changes to the amount of masking and the feather and the color after the fact. If you’re using a png, you’d have to recreate it in another program and reimport.
Regarding your other question, you can change the frame size, but you’re locked into your frame rate unless you create a new project and then copy/paste the clips from one to the other.
Andy
https://www.timesavertutorials.com
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[Nicolas Vallejo] “Does it matter at all which project size I use, or is this just a Compressor thing I should tweak with.”
Yes it matters. Make your project size 1280×720. Scaling down 1080 footage is better than scaling 720 footage up (and then scaling back down again).
[Nicolas Vallejo] “A 2.35 effect or a 2.35 .png template which I will have to composite. Or is there an advantage to using one or the other?”
Unless the .png is smaller than the project size, there won’t be a noticeable difference in the masking of the frame. However, a mask effect is much more adjustable.
Andy
https://www.timesavertutorials.com
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[Luke Tyrrell] “I’m getting more inclined to start using Premiere from now on, seriously FCP is becoming a joke.”
This is another example of someone getting pissed at the wrong program. FCPX uses a different paradigm which necessitated the creation of a different XML protocol so that those differences could be translated into other programs. If you insist on using AE for color grading, then it’s AE that needs to support the FCPXML not the other way around.
Andy
https://www.timesavertutorials.com
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What’s the format/codec of the QT file you’re trying to play? Sometimes Motion will import a clip, but not be able to play it back.
Andy
https://www.timesavertutorials.com
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David, question about your eSATA problems. What are your issues exactly? I know you’re using a MBP, but I had issues with eSATA off my PCI slot in my tower. Lots of times with more than one card, I had issues where eSATA drives just weren’t mounting or being recognized.
But then I discovered that the driver was the issue. Even though it was a driver from the same company as the card, it was causing issues because it was a poorly written driver. I looked around online and found that I could use the Sonnet driver for my non-sonnet card. And with that, plus OS 10.8, I’ve finally got a stable eSATA situation.
Perhaps something similar could help you?
Andy
https://www.timesavertutorials.com
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[Craig Shamwell] “After setting the KF, I then move the timeline to where it will start, position the object and re-size it to it’s starting position. set an anchor KF, use the arrow key and nudge the timeline one frame and set a starting KF.”
Your description is exactly the reason why many people are frustrated with FCPX keyframing. It’s not intuitive, and it requires a different set of “rules” from other NLEs/programs if you need more than 2 keyframes. Even in your explanation, you’re using 3 keyframes to do a move that other NLEs only require 2 keyframes, and you think WE are the crazy ones.
Personally, this entire issue could be solved by simply defaulting X’s keyframing to linear instead of “smooth” interpolation on position and scale keyframes. Don’t put smoothing in unless I want smoothing. Or at least have the forethought to disable smoothing between keyframes that are the same value.
If you’re advocating adding 3 keyframes when you should only need 2, or keyframing in reverse, then there’s something wrong with the way keyframing is handled in the program, and knowing how to work around the problem doesn’t mean that it’s not there.
Andy
https://www.timesavertutorials.com
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I discovered something interesting a couple of weeks back. I was working in a standard prores timeline and I noticed I had to rerender everytime I started FCPX. I trashed my render files thinking there was just a bad render in there, but it didn’t help. I was under a deadline so I slogged through. But then, when I tried to export, I kept getting an export error. No matter how I tried, I couldn’t export my project.
I deleted preferences, trashed renders, everything that you’ve probably done, and was on the verge of reinstalling the program when my wife convinced me to try Disk Warrior. So I used it on my system disk on the off chance that something else was making FCPX wonky.
Disk Warrior fixed about 30-50 things on my system disk and when I looked at the details, I noticed that virtually ALL of the corruption was centered around the video codecs. Once it repaired those issues, FCPX worked fine.
Long story short, if you have something like Disk Warrior, try repairing your startup volume (where FCPX is located) before doing anything drastic like reinstalling. In my case, which I realize isn’t quite the same as yours, a reinstall probably wouldn’t have worked.
Andy
https://www.timesavertutorials.com
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Presuming you don’t have broll available to cover the cuts and disguise that you made them, there are a couple of techniques editors tend to use to smooth the jarring nature of jumpcuts.
You can you a short (3-6 frame) white flash between clips. This is used a lot in news. It shows that you made a cut in the audio and aren’t trying to hide it, but the white flash also keeps the jump cut from being jarring.
Another thing you can do is resize one shot so that it looks like another camera shooting in CU. This works best in HD where you have a little more play in the quality of the footage, but the resized image will be a little softer. No way to avoid that.
andy
https://www.timesavertutorials.com