[Ben Scott]

if you fancy jumping out to motion to create the scrolling titles it can do word wrapping if you drag out with the text tool.

the boris scroll/roll tool is best for scrolling text and i am pretty sure it can word wrap and creates the scrolling more reliably than text 3d and definitely has the deflicker filter built in (a big bonus)

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[Ben Scott]

this is the beast motion blur plugin and for $89.95 is worth it if you are going to do a lot of videos with motion blur effects and need only the best

can be a good idea to use their fields kit deinterlace filter as well to achieve a more filmic look. it is also a good idea to use mattes with this plugin to truly make it shine.

it can also remove motion blur

https://www.revisionfx.com/products/rsmb/

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[Ben Scott]

i think peters suggestion is a good technique and if you have 4.2.2 chroma this can be the best technique as you can get a good key.

I also find that the luma key can be refined with a very limited chroma key as well to specify an exact area of the picture.

always use the waveform in scopes to try to work out which tonal range you are working across, it takes out the guess work.

It can be good to blur/soften the key if working on footage with a lower chroma sampling than 4.2.2

for a good description of secondary colour correction check https://www.kenstone.net/fcp_homepage/cc_legal_fcp4.html

it may be that working on a copy of the footage superimposed on top of itself with the chroma keyer tool and filters like chroma smoothing will give you extra control. https://www.kenstone.net/fcp_homepage/chroma_key_fcp_hd_monahan.html

also remember when working with footage with bad exposure that the darks will invariably have more chroma and luma noise than the rest of the picture and so brightening those areas can look very ugly and need noise removal.

it is also sometimes the case that moving tonal ranges in the upper and lowest limits of an images tonal range can introduce extra chrominance and so you may wish to look into the limit highlights/lows tool. although as you are moving tones away from the darks it shouldnt be so much of an issue.

I have the full dvd box set of the lord of the rings and on the fellowship of the rings last disk (making of) they have a great section on grading using a range of these techniques on a different grading system. go have a look if you can.

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[Ben Scott]

both limiter and compressor tools from soundtrack pro are much better

lukily larry jordans clips on both tools are free at
https://movielibrary.lynda.com/html/modPage.asp?ID=246

i would really advise paying for lynda for a month for this filters tutorial and the other one on soundtrack pro only its only $25 and is the only good tutorial i could find on the filtering, there are no books that are this good.

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[Ben Scott]

to get the video to the uncompressed 10 bit YUV ntsc codec just use the preset from compressor in the standards conversion section of settings.

animation codec is set to output the video at a different gamma than the footage was edited in and isnt ideal. you would need to precorrect footage to a specific gamma to get it to output as you edited it.

to get the 10 bit YUV colour to be broadcast safe you would need to either regrade/colour correct the footage on an NTSC broadcast deck, graded monitor and in a project set to uncompressed NTSC outputting using an uncompressed video card. the fact that transitions and effects have already been rendered could cause this to be a long process. you can use the broadcast safe filter but this will clamp the colour.

you can also get the people when transferring to NTSC to use a legaliser to make sure the colour is clamped, although this could cause colour changes to be introduced that are undesirable. someone told me of somewhere cheaper in soho london but i couldnt find it after looking this evening, can find out later in the week if you are interested when back in london.

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[Ben Scott]

once you have everything in the bin I would suggest either ordering via the pixel aspect ratio e.g. pal or ntsc or maybe the codec dvpal or dvntsc. this is achieved by clicking on the little arrow on the column for that parameter in the browser

other way is to use command + f and then select a property like codec and type in and ask to find all. then you could drag those clips to a new bin or label them a certain way to highlight in timeline (only useful if you havent used labelling in sequence already though)

another way is to duplicate the sequence. salect all the clips in the sequence and control click and ask to remove attributes, tick to remove everything. the clips that are left with render lines are most likely to be in the opposite codec to the ones the sequence has been set to. this isnt the best way but could leave you with the footage on the timeline. you may have problems with clips that still have speed changes appearing with renders. if wondering what sequence presets are then just control click and ask to see sequence settings or item properties.

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[Ben Scott]

it does work the way your suggesting

just sometimes you may need to rerender effects in the sequence and then that will really mess with the reference movie. say you did an insert edit and footage had titles over the top, then you need to rerender and the reference movie wont work any more and comes up with cannot find original media.

or at least its something to watch out for.

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[Ben Scott]

I find this export recommended using QT method to be a lot faster when using compressor.

thought it good to chip in that it is good to also always set the destination to a different hard drive than where your capture scratch has been set. You are using a QT reference movie when you untick self contained. this should speed up the render times by over 2 times as you are reading from one drive and writing to the other at the same time, instead of reading and writing at the same time if on the same drive.

also if you use reference movies make sure you are doing this at the end e.g. don’t export out as a reference movie and then go back into the sequence you were working on only to then reedit and cause the reference movie to no longer work whilst encoding.

maybe just remember if returning to final cut to carry out revisions on the sequence it may be a good idea to create a duplicate sequence to work up instead.

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