Annaël Beauchemin
Forum Replies Created
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[Thax] “othing “odd” about adding a filter to “change” anything in a digital edit.
The AUPeakLimiter is a standard method used to increase level.
I keep a copy of it set to +18 in my “Favorites Folder” ready to drop on a low clip.
I also have several “Pre-adjusted” versions of the Compressor/Limiter Filter in there.”
I do have gain, compressor and limiter presets lying around. I just whish I could go beyond 12dbs of gain as easily as I can for the first 12dbs. I thought there was maybe a way to shift-command-whatever clic and go beyond 12dbs…
Using a plugin is ok, but why didn’t they include a simple “Gain” plugin? I get a wondering face and a silence everytime I tell ppl to use the Pre-gain of the AUPeakLimiter plugin to add more than 12dbs. I wonder how much time was lost by all of us trying to figure how to add more than 12dbs of gain the first time we had to.
Duplicating the clip makes things too complex because when you want to use compressors or limiters, you then have to put the filters on each instance of the clip. And then when you want to make changes, you have to apply filters to the whole bunch of audio clips again…
I also try to avoid nesting clips, especialy audio. I always had trouble with nests at some point in complex timelines.
Anyway, a big thank you all for the suggestions 🙂
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Shift-F will dot it, but if your bin is closed, it will only highlight the bin, so you must open it and do a shift-f again. Also, it will only highlight in the main browser window, not in a separate bin window. So the browser must be in “list view”, with the bin containing the clip open.
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If you want to go CRT on a budget there’s the JVC DT-V1910CG for about 3000$. Pretty darn good performance in every aspect, but to get the HD-SDI+ SDI option it’ll cost a bit more… i think the option is like 4000$. You can always work in compenent which will still give you great performance.
https://www.jvcpro.co.uk/item/index_html?item=DT-V1910CG
If you do mostly 24PsF (native 23.98) work, I would go with an LCD screen since all CRT flicker pretty badly at a 48hz refresh rate. Same thing if you work mostly in progessive format. But for interlaced video, CRTs are best and won’t have the deinterlace and interpolation artifacts an LCD monitor will have.
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[Mike Most] “And what happens when you need to do dirt cleanup, where you need a paint system?”
Silhouette Roto would be an even greater choice, and it works directly in FCP.
But then, when you have to do tracking, 3d compositing, custom transitions, complex effects, or even removing a pulldown to slow down 24p footage properly, you have to go out of FCP and deal with YUV to RGB conversion problems, gamma shifts, file reimport or relink (and bugs associated with this), etc.
FCP renders management is also far below the one higher end software: in DS you don’t have to re-render everything when you duplicate a clip in a sequence or even if you copy it to another sequence; when you extend a rendered clip you only need to render frames that aren’t rendered and not the whole clip like in FCP; when dealing with multiple effects, you can render them separately so that only top effects need to be re-rendered with doing modifications; FCP can’t render tracks separatly which makes even simple compositng a real waste of time. Doing render-intensive work in FCP tends to become really painfull because of this.
So there is a big difference, but is it really worth the price difference… often not.
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[Mat @ LaCie] “And we use mostly seagate (seagate bought maxtor), western digital and hitachi.”
for the 2-3 last year, I could only find maxtor. Or maybe only the maxtor died…
but I am not the only one who had bad experience with those cheap diamondmax 9 and 10 maxtors. The one inside my G5 keeps failing each november. -
this is a bit of a shoot in the dark, but on M2000 sony decks you enable/disable setup in the menu on the front panel of the deck. I don’t remember the name of the config… I think it’s “Levels” but I do remember it was not a clear name. You can toggle it between ‘-100’, ‘preset’ and ‘+100’. This is probably what you are searching for.
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[Mylenium] “Don’t use it as a 3D layer, as the oversampling will make everything blurry, just scale it normally or distort it into perspective using the Trandsform effect or Corner Pin.”
from my experience the corner pin effect of AE makes the footage blurry. In other compositing apps, it’s much sharper. It’s also pretty slow…
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[Bj
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[mishka] “FCP can insert 3:2 field padding on the fly for monitoring.”
note that FCP doesn’t interlace any frame using this workflow. For final rendering, you must add a “real” pulldown otherwise the movements can be quite strobey.
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If you are outputting to DVD, you can work in native 23.98 and let the DVD player add the pulldown. For this you only need to open your clips in cinema tools and conform them to 23.98. Then work in a 23.98 timeline in FCP.
If you want to ouput to tape or DVD @29.97, you need to conform your movie files to 23.98 and add a 3:2 pulldown.
You a few options:
Cheap:
open the file in cinema tools and conform the framerate to 23.98. When you put it in a 29.97 timeline, FCP will need to render before playing. Note that this is not the “clean” way of adding pulldown since there won’t be any interlaced A frame like in a normal pulldown. Some people don’t notice it.If you have aftereffects:
Interpret footage as 23.98 fps, create a 23.98 composition, add to render queue and modify the render settings: you need to activate field rendering and activate 3:2 pulldown (select any pattern, it doesn’t matter). This makes a “clean” pulldown, smoother than the previous method.if you can buy a plugin:
Nattress’ standards conversion will do this inside of FCP. There are other plugin that will do this too, like revision fx’s fieldskit.