Bill Lee
Forum Replies Created
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The reason I posted about deinterlacing is that a lot of video has motion, and that does need to be deinterlaced, otherwise you will end up with the comb effect in your stills.
How you deal with it depends on things like workflow and how much time you want to spend on tweaking the video. Some deinterlacers are smart enough to do nothing in areas in frame where there is no movement, others might have to be told not, while others will reduce your resolution by half. There is a whole range of ways of handing the mixed temporal nature of video.
For video that has no movement in the frame, I would agree with you: there is no need to deinterlace the video. I guess I was assuming there was some level of movement in the video, since that is the ‘hard’ case.
Bill Lee
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With any image or video, you can’t end up with a higher quality than you started off with, so your original video quality will determine the end quality of your stills.
File>Export>Using QuickTime Conversion
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This is a fairly basic question, and if you are asking, then I would suggest getting extra training to make best use of your purchase of Final Cut Pro. This can be in the form of the Peachpit press Apple Pro Training series books, or in leader-led training. OK, I’m getting off the soapbox now.
1) Add a cross-dissolve to the first transition in your set of clips.
2) Adjust the cross-dissolve so that it is suitable for all of your clips (duration, start/eng points, etc). Ensure that you have enough good video beyond the in and end points to allow this dissolve to work properly.
3) Select the cross-dissolve in the timeline and select the Effect>Make Favorite Effect menu item
4) Move the playhead to the beginning of your set of clips
5) Set your Source-Destination (v1-V1) to the track that your clips are on (not needed if you have one video track)
6) Select all of your clips and drag them to the Canvas window and drop them on the Overwrite with Transition pop-up panel
7) There is no step 7)Bill Lee
Page II-158 of the FCP 5 manual covers this. -
How bad are the timecode breaks?
If they are really bad, can you do an HDV -FireWire-> HDV deck copy to generate a new master tape with continuous timecode?
Otherwise consider using iMovie HD to generate an Apple Intermediate Codec when it captures. Import that into FCP.
Since FCP is so heavily reliant on good timecode, working without it makes anything other than short projects really a problem. Until the release of cheap reliable non-volatile petabyte disk storage, tape masters will still be the best way of archiving video, and the best way of retrieving this video is marking the tapes and having good timecode.
Bill Lee
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What really gets me is what small minds these pea brains have, to actually think these scams will work!
Well, they do work, not every time, not in the majority of times, but obviously enough times to make it worth their time to try it, if you are seeing them again and again. You are doing yourselves a disservice if you make the assumption that they are all stupid; you can be trapped by something that doesn’t look simple or by believing that you can always outwit the dishonest. The Nigerian 419 scams still exist because someone is making money from them. Many of these scams rely on greed blinding people to their normal common sense.
And then if you think they are stupid and weak, then that might be a fatal mistake, especially if you try to confront them physically.
Now to bring it back more on-topic:
When you are securing your house and your studio, you need to approach it with these questions, “If I didn’t care how much damage I did when I wanted to break in/steal this equipment, then how would I do it?”, “What’s the risk of getting caught due to time, noise and possible attention whilst breaking in?”, and “What would make a potential buyer for this equipment not want to buy it?”. And you base your security on the answer to these questions.Bill Lee
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The advantage of using FxPlug filters really come out if you have a very fast video card because the FxPlug uses the GPU hardware acceleration of the video card to process your effects. Oh, and you have to be using those filters too to see that advantage. 🙂 I guess it would be possble for developers to develop specialised cards to do all sorts of effects in real time with the FxPlug architecture that Apple has made available to developers.
Read the document: https://manuals.info.apple.com/en/Final_Cut_Pro_5.0_lbn_z.pdf
This document covers the complete set of changes from v5.0 up to 5.1.2. If there is nothing there that will improve your workflow or fix your problems, then you shouldn’t feel the need to upgrade so urgently.Bill Lee
“Do ya feel lucky, … well, do ya?” -
[Slaps forehead in embarrassment finding Kevin describing a built-in function to do what I described to do in other ways].
Sometimes it’s amazing how many ways there is to do the same thing in FCP.Bill Lee
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Two possibilities, each with different results:
Tinting: Drop a Color Solid Matte Effect on top of your clip and play with the Opacity, Hue, Saturation and Brightness Controls for the clip.
or
Drop a Three-Way Color Correction filter on top of the clip in question. This will adjust the hues, brightness and saturation, but not change tint greys with color like the method above.Bill Lee
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1) Go to Final Cut Pro>System Settings>Scratch Disks
2) Note the setting of the location for the Thumbnail Cache
3) Quit FCP – you don’t want to pull the rug out from FCP while it might be running.
4) Go to the location noted in Step 2) above
5) Delete the folder “Thumbnail Cache Files” at that location and empty trash. The folder will be recreated the next time FCP starts up and checks your FCP System Settings for preferred location.Bill Lee
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Matt G’s suggestion about exporting at XML and reimporting sounds like a good suggestion, and can throw off the problems of internal corruption of your sequence/project. It would also be the steps I would take after troubleshooting your existing project, as described below:
I would also make a new project, in case it was more than just one sequence. I have successfully used the following technique in the past for a similar problem (which turned out to be a corrupted video file), using the “Divide and Conquer” method of troubleshooting a sequence:
1) Create a new project
2) Create a new sequence
3) Drop in some Bar and Tone and make sure this plays back OK, then delete this slug
4) Copy the contents of the problematic sequence to the new sequence
5) Close the old project
6) Test to see if the new sequence will play OK: if so then keep on going with the new project & sequence, otherwise continue.
7) If your sequence is still having problems then make a duplicate of this sequence
8) Open the copy of the new sequence
9) Select half of your timeline and delete it, unless you have only one clip left (and this should be the bad clip)
10) Try to play out what’s left
11) If it doesn’t play out, then go to step 7) above
12) If if does play out, then delete this sequence
13) Make a copy of your sequence
14) Delete the other half of the sequence you didn’t delete in step 9) leaving half of the clip untouched
15) Go to step 10)If you think you’ve identified the bad clip, try playing it in a sequence by itself.
Make sure that you’ve deleted all your render files before you start, in case it was a render file which was the problem.Bill Lee