Bouke Vahl
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Assuming the subs are made in a FCP text generator, exporting a (sub only) sequence to XML gives you something a bit better readable (after you trashed all unwanted stuff)
Also, have a look at Spherico tools. Andreas has some conversion utils for these kind of tasks.
BUT, the Avid editor will go nuts anyways if he has to re-create them all…
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
First, map ‘step by field’ to your keyboard, or you probably won’t find half of the hits.
Then there are a several ways to do this.
To ‘really’ destroy one field is a lot of work.
Have a field rendered slomo clip below your original and do a 1 frame wipe on the hit.But if you have an Adrenaline, you have the paint option.
Park on your video, hit the paint button and paint out the hit. (this takes a part of the image from the previous frame. Works great if there aint much motion)Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
There is something called 601/709 levels.
You probably export as that. Although Qt ref, Avid nowadays can also output RGB levels that most encoders expect.
Some encoders can be told that input is in fact NOT rgb, but (at least with Cinemacraft), this only works well with half Avid’s codecs.
Test, test, test is my only advice.Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
[Shane Ross] “It can, if you do things right”
Hmmm. Not in Avid afaik. (But of course you can set a reelname manually)
[Shane Ross] “The Avid will not see the imported quicktimes.”
Nope, not if they are native. But a transocded clip is needed anywas, as Avid seems not to work ‘native’ with P2 clips. (It’s kind of a mystery to me what really happens)
[Shane Ross] “The more simple the process, the less headaches”
I totally agree. Even better, do not use Avid for P2
But, having done a hefty 1 (one) P2 job in Avid, i’m not really experienced. But since i was unable to import 5% of my footage, it really, really sucks. (I have not lost 5% of my footage since Hi-8 in a lineair bay)Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Use spectra matte instead.
Or, use other applications.
Or, first do a heavy CC on the clip, then the key, and use only the generated matte on a copy of the source.And of course, have a look at the footage to see how much spill you got.
Spill surpession does wonders, as a background image in the same color tone as the key color.
There are a zillion factors to a good key….
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
dunno if this is possible without some serious XML tricks.
P2 does not seem to have reelnames, and that’s the very basic of EDL’s.
Now you also cannot ‘batch dig’ from P2, so you have to import and link. And that is FCP’s weak side.My option would be to import the clips in FCP, reset TC per clip to start TC 00, add a reelname per clip, bring those clips as QT’s to Avid, import them (they get a 00 TC if the sequence time is set to that), export as EDL and go from there.
You probably then have to import the EDL, do some XML stuff and you ‘should’ be there.But this is pure theory….
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Depends on what you like, and your budget.
Normally people use Automatic Duck to transfer sequences.
BUT, you have to redigitize in Avid.For this, i would not do so. Export to a decent codec, or install Avid codecs on your machine (your friend can provide them)
Mind the RGB – studio RGB conversion, so do a few tests with gradients/bars first to find out what settings to use!Of course leave out titles, apply them after the CC.
If you output an EDL next to the QT, the ‘reformat’ tool can razor the ingested master in Avid, so that’s a no-brainer.When it comes to effects, if they are dissolves, it’s easy.
(unless correction is very heavy), correct both clips and re-apply a dissolve in Avid so you have keyframed CC.If you have a lot of PiP that need different corrections, or have shots with transitions that are complex, provide them as seperate clips at the end of the show. (Of course you have to insert them in your final show afterwards, or create the same effect in Avid. It all depends on what you have done.
But if you have a lot of stuff like this, Automatic duck might be a better choice. More expensive, takes more time, but if it’s a complex show, it’s a life saver.Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
hmm.
Subbits ‘should’ be ideal for you in this case.
If it does not work, please mail me direct with your problems, and i will solve them.Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Dunno if Avid does it straight out of the box, but you probably want normal pulldown instead of the more sexy sounding ‘advanced pulldown’.
Just try it. Or use AE to render it, success guaranteed.Pal is a different story. Most of the time 24P is speeded up to 25, as the cadance (1 frame extra every second) is way too noticable.
Bouke
http://www.videoToolShed.com
smart tools for video pro’s -
Will do the job just fine.
If this fits your budget, a good choice.Bouke
http://www.videoToolShed.com
smart tools for video pro’s