Arnie Schlissel
Forum Replies Created
-
Pomp & Circumstance and the Star Spangled Banner are probably public domain. If they’re being played from recorded sources, then the recordings may be copyright protected. If they’re being played by a live band or orchestra, then the arrangement may be copyright protected. This might be a good time to find out how the music is going to be played.
Arnie
https://www.arniepix.com -
[bogiesan] “There are many effects in FCP that do not respect the alpha created by the previous effect.”
I could also be the order of the filters in your stack. The keying filter should be above the color corrector so that it executes first. But if you desaturate the footage, the keyer may simply be losing the chroma information it needs to pull the key, regardless of the order of the filters.
Try this: place your background on V1. Place the footage to be keyed on both V2 and V3. Apply only the keyer on V2. Apply only the 3 way CC on V3, then change the composite mode on V3 to “Track Matte Alpha”. Render, wash, rinse, repeat.
Arnie
https://www.arniepix.com -
Did you remember to copy the file named LASTCLIP.TXT? Cause if you didn’t, it won’t work.
Arnie
https://www.arniepix.com -
The JVC is HDV. It’s just a different version, based on 720p rather than 1080i. Mixing different formats of HDV is the same as mixing any 2 (or more) codecs in FCP. It means that you need to pick one & render.
Arnie
https://www.arniepix.com -
You’ll need to ask the Avid house what they can or can’t do, or what kind of files they can accept. We can’t see their gear from here.
Arnie
https://www.arniepix.com -
The deflicker filter demos you tried are probably designed for the flicker cased by fluorescent lights, which is very regular. What you’re trying to correct isn’t really flicker, per say, it’s bad camera work. I doubt that you’ll find any kind of automated solution for this. Your best bet is to simply either keyframe the exposure corrections using the 3-Way Color Corrector or similar tools.
Good luck!
Arnie
https://www.arniepix.com -
[jmf] ” No matter how it is, the software should be able to accommodate such a transition. I mean how hard would it be for a software routine to overlap used media and make adjustments to the sequence. I mean, what is so sacred about the last 15 frames of the preceding clip and the first 15 frames of the following clip; and if they are precious then you can always click undo and recap or re-cut the clip.”
This is why my client’s pay me to edit. Because I’m the one that they trust to know which frames are ‘precious’, not a bunch of programers in Cupertino who’ve never seen the footage.
Arnie
https://www.arniepix.com -
I’m surprised that the whiskey didn’t help. Perhaps you weren’t using a big enough glass? 😉
My 1st, knee jerk guess (w/o having bothered to look at the file) is that your font is too thin. Try making it bold, & see if that helps. Then you’ll have to explain interlace flicker to your client & talk him into using a thicker version of that Futura font.
Arnie
https://www.arniepix.com -
Synthetic Aperture is now selling their own control surface for use with Color Finesse. You can get the control surface alone, or bundled with their standalone version of CF.
https://www.synthetic-ap.com/products/cf/pricing.html
Arnie
https://www.arniepix.com -
Forgot to add- you’ll have to reconnect all your clips by hand after you rename them all. Are you sure you want to rename them?
Arnie
https://www.arniepix.com