Arnie Schlissel
Forum Replies Created
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Triptych, diptych, polytych are a painting words. The film/video word is “splitscreen”.
Like a triptych painting, each window in your splitscreen is separate. You can do what David says & simply build it on 3 different tracks. Use the Motion tab & the wireframe in the canvas to size & position your 1st 3 clips into the 3 windows of the splitscreen, they you can “Paste Attributes” to all of the other clips on each track. If you want to crop & size some of the clips differently, then the common settings are still a good starting point.
One word of caution- if you’re working with interlaced video, then you must make sure that the vertical or Y coordinate of each clip in you triptych is an even numbered integer. If they sit on the wrong line of video, they will reverse fields and look jaggie (aliased).
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
I prefer to do most of my keying with Shake for just this reason. The odds are against getting perfectly lit and staged keys, even when experienced pros are shooting them. Shake offers a lot of extra flexibility when building a key.
And getting good keys is usually a multi stage process, often involving breaking a shot up into separate sections and building separate keys that get combined into a single matte.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can rotoscope the projected effects onto band members’ faces, but that wouldn’t wrap the effect around the faces the way projecting it live would.
You can shoot the band members on a greenscreen stage, key the projected images onto their faces and key the band into the forrest., but that won’t wrap the effect around their faces the way projecting it live would.
To get the proper wrap, you’d have to model the faces in a 3d animation program to match their movements and then use the projected effect as the texture for the model.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
In FCP, you will set drop a clip in a bin in list view that has the columns arranged the way you want them. Make sure to include TC fields for in & out, as well as any comment fields that you want the producer to use.
Export a batch list from that bin.
Import the FCP batch list into Excel.
Save the Excel spreadsheet. That’s your template.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Brett Triantafillou] “I filmed it with 24p”
Are you working in a 24P timeline, with your pulldown removed, or are you still working at 30i?
The Cannon XL2, like all miniDV cameras can only lay 30i or 25i on tape, depending on whether this is the NTSC or PAL version of the camera. Cameras like the XL2 or Panasonic DVX 100 that shoot 24P do it by adding pulldown to make a 30i tape.
If you’re still at 30i, then you should remove the pulldown. Did you shoot 24P, or 24PA? 24P can be removed with Cinema Tools, 24PA can be removed with FCP. Consult the manuals to see how.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can get an MXO2 Mini for around $450, including the express card. The same box can be used with a desktop later by buying a $100 PCIe card.
The mini has HDMI and component to connect you to an inexpensive plasma or LCD TV, or the PVM L5 series Sony monitors that you mentioned.
You should be able to find a PVM20L5 for $500-10000, a PVM14L5 should run $350-700. Both are true HD monitors and are very good.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
23.98 (aka 23.976) and 29.97 will have the exact same runtime. You’re slowing your video down by the same amount, 0.01%.
The difference is that 23.98 can only exist in a non drop frame timebase, while 29.97 can be either drop or non drop.
What you need to do is to figure out what the running time should be in NON DROP FRAME timecode, and cut your 23.98 timeline to that time.
Shane Ross has posted links on this forum to TC calculators that you can use to figure this out. They may also be posted on his blog.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Thatcher Kelley] “I don’t have the luxury of being able to afford what I “should” do.”
But you do have the luxury to afford to deliver a substandard show? I think not.
[Thatcher Kelley] “I posted to see if anyone has any ideas of something I can do. I didn’t post to see if anyone could tell me that I should never use the preview window.”
What you can do is to rough out your edit and then bring your show to someone who is properly equipped and capable to properly finish your show.
I see problems all the time that are related to improper monitoring. In a small window on a computer screen a lot of problems simply aren’t seen.
And some problems aren’t even seen on a good broadcast monitor.
We just shot a test out to film for a client and saw a serious, probably unfixable problem caused by their lens adapter. A problem they could only have spotted and fixed on set if they were projecting their dailies with an HD video projector. We didn’t even see it on an HD broadcast monitor when we set up their test.
IOW the money you spend on proper monitoring will more than pay for itself in the money and effort saved by not having to fix the unfixable in post.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Your real solution is to first log, then capture. Then you won’t have this problem because your tape will already be broken down into clips.
But wait, you say, it takes too long to actually review and log the tape first.
Yeah, right.
Look at your own workflow above. Look at all the time & disk space you’re wasting by trying to save the small amount of time it takes to do this correctly, not to mention all of the other problems caused by lazy work habits.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Claude St-Arnaud] “And why is my brain leaking from both ears? “
Either not enough coffee or not enough beer. Possibly both.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/