Ben Insler
Forum Replies Created
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I’m not sure.. I always use .9 NTSC pixels, but you might want to set your sequence to be 720×480 NTSC DV (4:3) instead of 3:2.
Good luck. I’d be interested to see how you work it out.
Best,
Ben Insler
Editor
Telemark Films -
Not sure if even particle illusion would make that so well (but I haven’t used it so much to definitively say that). I’ve heard of other particle simulation programs (you’d have to search the forums for their names… maybe the Maya forum) that would do that well, but in that example the smoke and water could have actually been shot on a high speed camera… I’m not sure.
Very cool though!
Best,
Ben Insler
Editor
Telemark Films -
If you’re going to be synching the clips together in FCP for a multicam edit, I’m not sure if this will work for you, but go to your User Preferences in FCP and make sure that under the “On Timecode break:” settings is set to “Warn After Capture.” This will force FCP to capture clips that it finds to contain TC breaks, even in capture now, and will instead warn you at the end of your capture session which cilps had TC breaks – but at least they will get captured. I’m still using 4.5 HD so I haven’t had the fun of synching multicam shoots into a multiclip and don’t know if this will cause you problems there, but I run into this caputre problem with the DVX-100A all the time and once captured the footage edits fine. If you’re capturing a lot of brief clips, however, FCP will still detect TC breaks as it seeks for your media In preroll and out postroll points, and will get hung up on clips that have their pre/post-roll in and out points set within a break region (look carefully, there may be a TC break of three frames that we’d never see as the TC files by, but that FCP doesn’t like – I don’t know why this would EVER happen, but it seems to a lot). So, you might have to change your capture preset, or make a few different ones and run a few captures to grab the clips that failed.
I feel your pain though… Good luck.
Ben Insler
Editor
Telemark Films -
You can take your footage into AFX and simply import it into a DV/NTSC 23.98 FPS sequence. Export that sequence through the render queue as normal, but under render settings turn on “Field Render:” to lower I believe, then set your 3:2 pulldown. If you’re converting all the footage from 29.97, the specific pulldown setting isn’t as important just as long as you keep it consistent in all your exports. Then set your Frame Rate to “use this frame rate: 29.97. This should give you a 24p effect. I haven’t done it in a while so I’m positive, but you might be able to just use an initial 29.97 sequence in the beginning step, but regardless this way should work for your.
good luck,
Ben Insler
Editor
Telemark Films -
You can, however, click on the track view button (bottom left of your timeline, between the audio controls (speaker) and rubber bands button, and use the tracks to select all the keyframes on a given frame and move them globally that way.
Ben Insler
Editor
Telemark Films -
depends really on what you’re looking for.
terraserver.com sells satellite and aerial maps of regions and continents – for a production budget they’re not too expensive as long as you don’t have to buy a ton.
Best,
Ben Insler
Editor
Telemark Films -
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[Dave LaRonde] “Double click on the rectangular mask icon AGAIN to make another full-screen rectangular mask in a different color. Do NOT move this one. Go to the switches in the timeline and change this mask’s mode from Add to Intersect. “
Dave,
What’s the purpose of the second mask? I was going to suggest the same solution as you except only using one mask set to add (the first one, in your example). I would have thought that would work fine. Why does the second mask help?
Ben Insler
Editor
Telemark Films -
Sorry, to my knowledge there aren’t any elegant solutions. Consider your footage as actual film for a moment, rather than an NLE representation on your computer. When you change your In/Out points, your not scaling the footage (i.e. stretching the roll of film) in any way, but instead you’re splicing more onto the ends of it or cutting more away from those ends. If you visualize your keyframes then as physical dots (like made with a sharpie) on your frames, splicing more footage on or cutting footage away wouldn’t effect these dots at all. That’s sort of a really rough way of visualizing what’s going on in FCP, and I have not heard of a hotkey yet that you can hold to scale all the keys in a clip as you extend the I/O points. Honestly I’m not sure that this is possible, as you’d really be adjusting the speed of the clip in the process too, since speed keyframes are automatically set by FCP with your I/O points.
If you do find a non-tedious solution though, please post.
Best,
BenBen Insler
Editor
Telemark Films -
GREAT INFO!
Just one question. What’s the difference between using the Anamorphic 16×9 lens adapter and using the anamrphic (not letterbox) 16×9 setting in the camera (the DVX100’s and many other cameras have both anamorphic 16×9 and letterbox options). Is the in-camera anamorphic option artificial, or scaling the image in some way to achieve the widescreen effect (thus decreasing resolution, or is it the same? Technically you’re using the same lens, so how could it switch from normal to squeeze???
Thanks,
Ben
Ben Insler
Editor
Telemark Films