[Annaël Beauchemin]

What is going to help you on this shot is to add city lights reflections to the window and door. For this, take a shot of a street at night, put it in additive blend, blur it a bit and composite it in the windows. You can also some glares to the door. It’s true that the image should not have very high contrast, but reflections should be much higher at night than in the day.

You’re still going to have a problem with the background tho. Is the bus/car/train moving? The only way I see to fix it is to track and/or roto it. Or aybe a key if you’re very lucky…

here’s what I could get:

[Annaël Beauchemin]

yeah, it does make color correction more diffult since you can’t even load a Reference image into the CC. If you do it, it doesn’t stay when you step in.

thanks for the calrification

[Annaël Beauchemin]

I tried exactly what you told me to do and it doesn’t work. When I try to modify something in the color corrector interface, it asks me to step in.

Do you use the the “Color Correction” effect or the “Color Effect”? I’m using the “color correction” effect which has its own interface and can only be tempered within the color correction mode. It doesn’t seem to matter if I select the CC effect layer (2.2), it still asks me to step in. If you have any idea what i’m doing wrong…

thanks for the help!

[Annaël Beauchemin]

[Thax] “Audio Mixdown is one of THE most overlooked… but most IMPORTANT functions
in curing timeline stutters and pauses.”

I would turn that sentence into “Audio Mixdown is one of THE most overlooked… but most IMPORTANT functions
in curing mind twisting, head banging bugs.”

I would add that it is overlooked simply because it’s a non-sense having to mixdown to get rid of FCP bugs like that.

[Annaël Beauchemin]

Do an Audio Mixdown in “Squence” -> “Render Only” -> “Audio Mixdown”. Or do a “command-option-R”.

This is a bug that pissed me off quite a few times already…

[Annaël Beauchemin]

[David Roth Weiss] ”
In fact, I’m surprised that Boris 3D titler defaults to 100% white. Many titling apps, TitleMotion for example, default to 85 or 90% in order to keep neophites from sending out 100% white titles by mistake.”

Wierd, mine defaults to 235, which is an RGB value so it gets contracted to 92% in a YCrCb colorspace.

The default 235 of Title 3D value is confusing because it’s a RGB value and it corresponds to the white value in the YCrCb colorspace.

RGB 255 = YCrCb 235, so an RGB graphic file should always be thoricaly luma safe (but can be chroma unsafe when in the extreme of R, G or B).

[Annaël Beauchemin]

Thank you Mike, this trick will certainly come handy for me in the next few days.

Anna

[Annaël Beauchemin]

[Bob Flood] “4. never had a problem with speed changes.”

Version 4.x was definately broken. Especialy with quicktime files (without timecode). I’m surprised to hear it has been working for somebody. I always had to verify media managed projects or EDLs against a reference video to readjust every speed change.

At least they fixed it in version 5…

But it would be so much better to be able to “consolidate” a project without having to copy it and put every masterclip in a single “Master Clips” bin like it does now. It’s a mess. Why can’t the MM just delete the unused media and keep the original masterclips and sequences intact? (This is a rhetorical question… the media manager cannot because it wasn’t designed properly at its core level).

[Annaël Beauchemin]

there was a very clear article about 24.0 fps vs 23.98 on 24p.com a while ago but I can’t find it anymore…

anyway, if there is a 2% difference between the video and the audio, it’s something else than the difference between 24.0 and 23.98 (23.976). The 24.0 and 23.98 difference is 0.1 %.

In general, you should always work in 23.98 EXCEPT if you are dealing with film and separately recorded audio. NTSC telecine and HDCAM transfer of film work in 23.98. You should also always output your movie to 23.98 if it’s going to print to film. If your audio is sync in your 23.98 video master, it will stay sync in the final 24.0 fps film transfer. If you need to send your audio and video separately, you’ll need to ask the transfer facility what to give them.

I don’t know why a Hi8 tape was used… MiniDV would be much, MUCH more reliable as far as audio quality and sync goes.

The 2% difference sounds like some sort of PAL 24@25 conversion problem. Which format did she send her audio mix in? PAL tape or NTSC with pulldown? (I understand Greece is probably a PAL country)

[Annaël Beauchemin]

yep.
Do you speed change to one clip, select it, copy it (command-c OR right-click -> copy).
Then select all the clips you want to apply the speed change to, paste attribute to them (option-v OR right-click -> Paste Attributes), select “speed” in the Paste Attributes box and hit ok.

voil