[Annaël Beauchemin]

some other hardware vendor (cough…Matrox RTX100…cough…) like to sell bundles with their product. So if we imagine a situation where someone is shoping for a new system, it would be possible that this person sees a software bundled with an hardware kit (cough cough again), then go to the Aja website and wonder if they are ALSO blundling the software with their card.

But I *do* wonder how could someone iron his clothes while they are on himself, or how could someone think that you can dry your clothes in your microwave…

[Annaël Beauchemin]

have you tried deleting all audio render files? You can do it by going to the Tools menu, in Render manager. You then check every audio render from your project and delete them.

Try to export again. If it still fails, try to export an aiff using “Stereo mix” instead of “channel grouped”.

If that still doesn’t work and you must deliver, you’ll have to jover… disable the probelmatic track, export the quicktime with audio, create a new sequence, re-import your exported quikctime to it, add your problematic track and export again. This is really dirty, but we all do dirty things like this when we must deliver… a bit like in hollywood action movies where the hero must kill to save the nation.

[Annaël Beauchemin]

this is also what i’ve always experienced with FCP prior to FCP 5. The reason is that before 5, FCP didn’t do subpixel rendering. So you either need to blur, do it in livetype or do it AfterEffects. AfterEffects also have a nice automatic motion blur that renders quickly.

If you set your sequence to progressive (no field) it will behave much better, but of course everything rendered will be progressive.

[Annaël Beauchemin]

[mike] “My specific was regarding color correcting in AVID vs Final Cut. The color correcting tool is great in AVID..but the limits in the interface make it simplistic primary color correction friendly and less helpful in the ability to specify masks and grade like I can in FCP timelines.”

It’s funny, but I would like Avid’s (yeah, even xpress pro) color correcting tool anytime instead of FCP’s. FCP doesn’t have curves and the GUI is much less productive for long form color correction. And masks are a pain to work with in FCP… they are ok for basic garbage mattes, but forget about rotoscoping.

But as far as timeline work goes, FCP is so much quicker by being more “direct”. You can really move things around fast, precisely and intuitively.

[Annaël Beauchemin]

yeah, what about better clone and paint tools?

At least they did something about the user interface. I hope they didn’t get inspired by the Flash interface too much! 😉

[Annaël Beauchemin]

the floor seems to be a fractal noise scaled up pretty much with the contrast/brightness set high, then blured.

the reflexion is like Mylenium told you… it’s a duplicate of the square layer with the y scale set to -100%. You could try some different blend modes for this reflexion layer, like Screen. For the gradient opacity, you could either add a gradient effect set to alpha, or use a high feather mask.

[Annaël Beauchemin]

the TC generator/reader should have realtime *playback* on a fast computer. I know it works fine on a G5 2×2.

So, the fastest way to have a DVD dub with TC burn-in would be then to use a standalone DVD recorder and record directly from timeline playback (you can’t use print to video, it will render it all).

Some DVD recorder even have firewire inputs, so this would limit quality loss compared to dubbing via analog inputs.

But beware that any filter or transistion needs to be rendered (red bar). You can render those sections selectively via Seuqence – > Render Selection -> Needs render.

[Annaël Beauchemin]

there’s an app that can add a timecode text track to qt movies. Unfortunately, it does not seem to work correctly with FCP made timecode tracks. To add a timecode display, you must delete the FCP TC tracks and manualy add another, because the “toggle display timecode” does not seem to work with FCP TC tracks. But you can still read the timecode at a specific frame with this app with “Show current timecode”.

the good news is that there’s a pc version.

https://developer.apple.com/samplecode/qttimecode.win/qttimecode.win.html

mac version:

https://developer.apple.com/samplecode/qttimecode/qttimecode.html

[Annaël Beauchemin]

Wow, thanx. This preset does the thing right… it does a very great chroma blur in yuv mode. Better than doing the trick of the blurred adjustement layer set to color blend mode precomped with source.

The keylight values seem a bit too high for good greenscreen footage, tho. But it’s normal to have different values for different shots…

thanx again

[Annaël Beauchemin]

I have to say that I have a similar problem with keylight and digital betacam footage (captured in SDI in symphony, uncompressed). I have to put heavy chroma blur before it disappear. I’ve not done alot of keying in my life, but this seems odd that about the cleanest footage I can get shows those artifacts.

I’ve searched the forums and on the net, and I find a few ppl having the same problem, but never a real solution. The keylight tutorals aren’t very helpfu since there’s no moving image, just stills, so we don’t even know if they show how to get a proper key.