Bouncing Account needs new email address
Forum Replies Created
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If you encounter any odd situation with FCP not doing what its supposed to do:
THE FOLLOWING COMES FROM THE KEN STONE WEBSITE:
“Over 5,000 years ago Confucius wrote: ‘If you are toiling away, you have changed nothing and FCP heads South on you, [starts behaving in strange ways] then it is time to trash your FCP Preferences.’ ”Click the following link for instructions.
https://www.kenstone.net/fcp_homepage/trashing_fcp_prefs.html
A great way to do this is to use “FCP Rescue” a free Apple Script that will Trash the Preferences for you (and restore nearly all of your user settings afterward).
There are versions for FCPro & FCExpress.Download these free Apple Scripts at
https://fcprescue.andersholck.com/
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No need to recapture.
You can just turn OFF the “Stereo Pair” in the timeline and FCP will treat each channel as a separate source.
You can then pan, add effects, and adjust levels independently. -
[Jerry] “1200 watts enough or overkill?”
Assuming the use of pro speaker systems…
You can never go wrong with having extra power.
You won’t need to crank it “full-up” if you’ve got a lot of power … just gives you nice undistorted headroom.But you can actually come closer to destroying speakers with too LITTLE power (the “clipping” distortion when trying to get “enough” volume can dangerously over-heat the speaker voice-coils).
So, even if you only have a couple of the speakers up in a given situation, 800-1200 watts will be a comfortable powerhouse.
And when you do need to operate 4 to 8 speaker stands, you’ll have the horse-power to do it.That said, I’d get at least THREE identical amps.
Split the speakers between two of them for the show.
If you lose one amp you can still limp-on for that show (or until a break) with the remaining unit.
Then, having that third amp in reserve can get you back up in a hurry.AND…
Don’t forget to add an EQ unit (1/3 Octave, if your crew can operate one) to help “tune-out” the feedback in the main room. -
[Little Bobby] “Maybe motion key-frames of a layered picture in Photoshop?”
Yes, this is actually closer to what the process actually is, rather than true “Rotoscoping”.
This starts with what’s known (in newspaper and photo business) as “COB” (Cut Out Background).
(Rotoscoping is the same process but it is done on motion images and needs to be done for each individual frame in the moving image sequence.)
COB just needs to be done ONCE on a given still image and then (as you suspected) you move individual layers in respect to each other
(Walt Disney, William Garity, Roger Broggie and ace animator/director Ub Iwerks invented the “Multiplane Camera” for the Disney Studios in the late 1930’s to do this to create realistic “motion-depth” with painted animation cells.)https://en.wikipedia.org/wiki/Multiplane_camera
So now, using FCP or other edit systems, once you COB the foreground image (leaving a “clear” Alpha channel around the cut-outs) you can lay it over a generic (but appropriate) background, or (much more complex, but more satisfying) you can “paint-in” the “background” that you cut the foreground FROM (carefully “clone-in” the HOLES where you removed the foreground images.
The most dramatic of these effects use 3 or more layers in motion. -
Historically, due to “bad batch” concerns, tapes within a given case have come from different production runs.
That way if you do have a tape with drop-out problems, the entire case should not have them.
(I don’t know if this practice is still followed.)
So, it could be that you found a “bad one” in the lot.Or, it could have been a miss-thread when the tape got loaded in the camcorder.
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Here is something that fits your question:
https://www.radioshack.com/product.asp?catalog%5Fname=CTLG&product%5Fid=274-879
If this isn’t what you want, you’ll need to be much more specific.
What are the sources? (what kind of gear?)
Do they have male or female 1/8″ ends?What are you feeding this into? (what kind of gear?)
Male or female 1/8″ end?Do you need to control the levels of each source separately?
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What camera?
What mixer?
What cables? -
Its because each TC break is “considered” a different reel.
At the pro level accurate TC is extremely important.
TC on a single reel should be continuous, by design.
If a “break” is detected, the software identifies the next “TC area” as a different “sub-reel”.
That way if there are several identical TC numbers (many times the camcorder resets to 00:00:00 if there’s a break),
if the reel name has a -B or -C after the name, you’ll know better where on the reel to LOOK for the logged cut.A good way to avoid this is to NOT capture an entire tape, but manually mark your good takes “by hand” and then capture them as you mark them.
Another method, which will be even BETTER if you need to “BATCH” digitize clips now or at a later date, is to connect two DV decks or camcorders together via FireWire and make a new copy of the tape(s) with broken TC.
The copy will have no generation loss (it will look exactly like the original) and have a new continuous TC.
You would then only capture from the copy and avoid using the original tape with the faulty TC. -
FCP does not SEND TC down the FW.
Even if it DID, an XL1 does not have an “external TC” setting so it would ignore it anyway.
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You must only judge IMAGE QUALITY and color in FCP on an EXTERNAL video monitor (not on the computer screen).
If you created your Photoshop image on an LCD monitor, it can look very different on an external video monitor.
You must learn to compensate for this when you create in Photoshop.If you have certain video cards (such as PipePro and Kona) for use with FCP, they can actually output your Photoshop computer image as you work, so you can judge it properly for video.