Ben Holmes
Forum Replies Created
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Don’t mean to be obvious (chortle chortle), but you did select all and render all before you did the export? Although it ought to render before the export anyway…
Off the top of my head, do you have any nested clips in the timeline? Otherwise it could be caused by filters that FCP is missing or doesn’t like. Have you recently upgraded to 5.1? It messes with a lot of filters.
Otherwise, try clearing all the render files and re-rendering from scratch.
Sounds odd.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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I feel your pain, but that’s a problem if you do a dissolve between clips as well, you can’t see the end frames. The only workflow is to do the fades/crossfades AFTER you get the motion right.
Not much help, probably – but it’s all I got.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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The simple answer is that you set the composite mode for the top layer to ‘travel matte – luma’, assuming you’re using a greyscale matte in the middle layer.
I’m getting cramp typing this tonight. Read Walter’s tutorial, it’s really nice, m’kay?
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Copy (apple+c) the clip with the filters and keyframes you want. Then right-click or control click on the clip you want the filters applied to, and select paste attributes from the pop-up.
In the paste attributes menu tick ‘filters’ and note the option to ‘scale attributes over clip length/time” (or something similar – don’t have FCP in front of me) – this tells FCP whether or not to spread the keyframes you set on the first clip over the duration of the new clip (so, for example, a move happens over the total length of the clip, regardless of the clip length) or whether it just applies them over the same timeframe, working from frame one of the clip.
Hope that’s clear. Paste attributes is remarkably useful – even allowing you to apply these filters etc. to EVERY clip you highlight in the timeline. This means your job will require a single click!
Have fun.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Sorry – didn’t say. You can also change the composite mode by control- or right-clicking on the V2 clip and selecting it there. Quicker.
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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No. But you could make the process a lot less painful by nesting the layers you need, then duplicating the nest.
Alternatively, I think someone suggested here recently deactivating the V/O tracks, exporting the audio to a QT, and dropping it back in on seperate tracks. Voila, job done.
Not clever, but not too much bother….
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Well, it varies certainly. The BBC’s spec is different to everyone else’s, obviously. They decided that the average widescreen TV actually only shows a 14:9 frame safely, so they work to 14:9. Our distributors insist on 14:9 LB safe, so…
Satellite broadcasters like Sky TV insist on 4:3 safe as their domestic set-top systems can be set up as 16:9 Anamorphic, 4:3 or 16:9 LB. As this platform is generally where most shows end up, we always run GFX to 4:3 safe. Saves remastering…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Slightly OT, can probably NO USE to you at all, but over in the U of K, broadcasters often show 4:3 footage in 16:9 shows by adding ‘curtains’ either side – the analogy being the cinema curtains that sit there in the adverts and swing out for the main feature.
Now obviously, actual curtains are rarely used (!), but most people use a layer underneath the 4:3 footage made up of the same footage stretched out and heavily blurred. It can be suprisingly effective, and has the added advantage that if people are viewing the programme 4:3 (often the case over here) the blurred edges are cut off, and they are left with the original 4:3 frame. Over here, all programmes have to be shot and cut 4:3 safe, as most set-top boxes can output cropped 4:3 to older TVs, even when the majority here now have 16:9 tellies.
Still, it’s a way of using 4:3 footage in a 16:9 show that DOESN’T involve horribly blowing up your footage, which looks nasty by any means.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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That’s the trouble with Broadcast. Some people actually know what they’re doing, and the people writing the cheques know what everything costs.
Someone once said to me: “Everyone in broadast wishes they were in corporate, and vice versa”. I guess the grass is always greener…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…
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Should also find it easier to mess with the ‘opacity’ with this method. Used to use Magic Bullet Misfire vignette, but now I don’t bother – this is so much quicker for renders…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live OB operations.“The Supercar Run” now available for international distribution from http://www.electricsky.com
See you at IBC – we’re there with our FCP/replay truck…