Andy Neil
Forum Replies Created
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Couple of things I’m a bit confused by…
[Michael Holmes] “I have been struggling with color and shape masks in FCP X to deal with the bad cases, but it is really tedious. “
Are you referring to the time it takes to keyframe the mask? Or is there some other aspect of the masks that you’re having trouble with? Because no matter what program you use, if you need to mask out portions during the color correction, then it’s going to take some time. Resolve has the ability to track the object or person you’ve masked, but even that is not a magic bullet all the time.
[Michael Holmes] “I looked in detail at what it would take to use Resolve and it makes absolutely no sense for me………….I would spend tons of times learning complex capabilities designed for much more complex movies, and also spend a fortune on a separate computer system.”
Why do you think you need a new computer system to run Resolve?
Andy
https://www.timesavertutorials.com
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A lot of times, people select a clip and hit delete and they think that they’ve deleted the clip from their event. In reality, you’ve only labeled the clip as “rejected” and it’s still in the event. It won’t show up because the default browser view is to hide rejected clips.
I suggest clicking on the browser view drop down and choosing All Clips (CTRL+C) and then see if you see it. If you do then select the clip and hit U on the keyboard to remove the rejected status from it and you can return to Hide Rejected view (CTRL+H)
This would explain why you don’t get an error message when you try to import because FCPX recognizes that you already have the clip in your project.
Andy
https://www.timesavertutorials.com
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[Lynette Gilbert] “Are the current formats that we use always going to be available? Or is someone like Apple going to say, “Quicktime is dead!” and stop releasing new versions?
“I appreciate your perspective and even share it to an extent. I was the archivist for a local news station with over 7 years of footage (which is a lot considering they produced over 5 hours of on air content each day combined with off air content like broll, interviews and such. But I’d just like to point out that your issue with files can also be found in tape archives as well.
In another Disney story, I was compiling a tape master of Tron (the original). Well, in addition to the master being recorded on a D5 instead of the current archive model of HDCamSR, the surround mix was recorded on some strange audio format that I’d never even seen before (because D5 couldn’t handle all the audio tracks for the film). It was a major headache just finding a way to make use of the audio files because practically no one had any idea how to get at them.
The one upside to the worry of something like Quicktime going away (which is seems to be), is that Apple isn’t necessary to provide compatibility with QT. Plenty of products exist out there which can read and play QT files and convert them (when the time comes).
I don’t see the tapeless archive as solving the problems of legacy content compatibility. That’s a problem we’re likely to keep no matter what becomes standard in the years to come. But it can potentially solve problems like space considerations, speed of access, organizational problems (finding footage), and even content degradation.
Andy
https://www.timesavertutorials.com
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[Walter Soyka] “Why do you think tape is the wrong direction? LTO is a great format for the foreseeable future. High data density, high bandwidth, good shelf life, relatively affordable, and broad cross-industry support. There is no such thing as “cost effective SSD” in 2012″
My comment regarding emerging technologies like SSD and cloud servers wasn’t to suggest that they are a current solution. I was looking forward to the future. SSDs will become cheaper as these things do and though bandwidth is a significant hurdle for cloud technologies, it’s not an insurmountable one. Many larger companies right now use server storage as an archive solution which are connected via fibre or ethernet (essentially a “hard-wired” cloud service). But I admit that nothing is standing out at this moment as a magic bullet which is why I said that tape still has a place.
But let’s separate LTO from my tape comment because when I said that “going back to tape” was moving the wrong direction, I was referring to an earlier post which said:
[Rich Rubasch] “If I added up all the money I spent on deck repair and tape, then I added up how much I spent on all the hard drives I’ve had to buy, enclosures, cables etc I’d go back to tape in a moment.”
Clearly he was not talking about LTO. He was talking about tape decks and tape versus file based workflows. Going back to THAT is going the wrong direction in my opinion.
LTO is fine for right now, but it feels like a temporary solution. One for shops that want to continue acquiring and editing tapeless, but need a cost effective, yet reliable archive. The future is oncoming and something will present itself as a more definite solution down the road, but I seriously doubt it’ll be a return to Beta.
Andy
https://www.timesavertutorials.com
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[Walter Soyka] “Tape has some big advantages: it’s a predictable, known, and standardized (saying “send it to me on Beta” is more meaningful than “send me a QuickTime file”) — but more importantly, as Rich points out, tape is its own archive.”
Tape being it’s own archive is nearly its only advantage. The other things you listed aren’t even true really. There are tons of different tape formats (VHS, beta, digibeta, HDCam(SR), D1-5, DV, DVCPro(HD), DVCam, U-matic, etc.). Standardization is a “sometimes” proposition with all kinds of gotchas when two companies collaborate. Heck, there are even issues inside big companies with tape standardization. Take Disney for example who up until recent years had tape masters of their films on D5, but then switched to HDCamSR which created all sorts of headaches for people going back and forth, and issues when pulling video for edits. Plus, compatibility with all these standards required having at least one machine for ALL these tape formats which is a tremendous cost.
On top of that, tape has plenty of disadvantages including the fact that its locked into a format, is bulkier to store, projects can’t be saved, only outputs, and is many times slower on import and export.
Tape obviously still has a place in production and post, but “going back to tape” just feels like moving in the wrong direction. Finding a solution to proper archive is important, but it’s definitely not tape. Perhaps cost-effective SSDs, cloud servers, or some other technology yet to be invented will solve the archive problem and allow tape to go quietly into that good night.
Andy
https://www.timesavertutorials.com
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To answer your first question: yes. Select all the clips in your event browser and hit OPT+left arrow to close the disclosure triangle and hide favorites and keywords. OPT+right arrow will expand to show them.
For your second question, you can’t stop it from showing the favorite when you create a favorite, but it shouldn’t stop you from quickly going through your clips. The clip you are on will remain active after a favorite has been completed, and if you want to jump down to the next clip in the browser, you only need hit the down arrow key.
Andy
https://www.timesavertutorials.com
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Sorry, I thought that’s what you were asking about. The reason you can’t use the transform tools to move the lens flare is because of the nature of the effect requires a composite of the lens flare over the video and that composite is accomplished via a drop zone inside the motion project.
What you need to do is open a copy of the title in Motion and either adjust it there, or create a publishable rig which will allow you to adjust the position of the flare from within FCPX.
Andy
https://www.timesavertutorials.com
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[Lynette Gilbert] “My concern is that I only have one small window each year to decide what’s going to happen technologically for the next 3-5 years … It gets me incredibly stressed.”
I wouldn’t get too stressed about it. It sounds as if they’re pretty far behind technologically and are fine with that. If I was in your shoes, I’d keep FCP 7 and get them to upgrade to HD with their cameras and decks. Leave the OS and software as it is since FCP 7 handles HD for a majority of workflows and have them switch out whatever component is incompatible with the Kona card because having a dedicated capture card solves so many issues. There’s no need to move software if they haven’t even embraced HD yet.
Though I don’t see FCP X as being a good fit now based on what you described, I would point out that using it (or Premiere for that matter) doesn’t preclude the continued use of DVDSP. Just don’t upgrade the OS for the edit station past the point where it fails to run properly and you should be fine for the next few years.
https://www.timesavertutorials.com
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Double click the text in the viewer. You should see a little puck on the text line. Grab and move the title with that.
Andy
https://www.timesavertutorials.com
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