Bouncing Account needs new email address
Forum Replies Created
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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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[yourmemoryisaneditingsuite] “They aren’t large, the largest one is about 100k, but I never blow them bigger than their best resolution permits.”
The problem is how large they are in “number of pixels x number of pixels” not the file size.
A high-resolution computer image will “dance/shimmer/flicker” in a video monitor.
As was suggested, add the Gaussian Blur filter and adjust it as you view the output on the external video monitor.
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[riccardo zito] “(and buy an external monitor).
What gausian blur is standard.. between 1 and 2.5 px.. ? is that fine ?”As far as the Gaussian Blur amount, you need to SEE it on the external monitor as you ADJUST the amount.
The settings you suggested are about right, but it all depends on the source material.
Too much and the image appears blurry, not enough and the “shimmer” will still be there.
And, as much as a fraction of a number either way can make a big difference.
You can even key-frame the amount if you are “zooming” on an image (it will take MORE blur as you make the image smaller).
That’s why you NEED to SEE it as you adjust.You can use ANY TV monitor that you have already (until you buy a “good” one, if you choose).
Monitoring FCP on an external video monitor is as easy as:
Mac > Camcorder > Monitor.Here’s how to connect it, step-by-step:
1. “Quit” the Final Cut Pro program.
2. Connect your camcorder to the Mac via FireWire.
3. Hook any standard monitor or TV (with a video input) to the outputs on your DV camcorder.
You can use the standard (usually colored yellow) video cable or the “S-video” output from the camcorder if the monitor has one of those kind of inputs.You should ALSO hook up the AUDIO outputs from the camcorder to the same monitor, or any “amplified speakers” so you can monitor the FCP audio along with the video.
4. Turn ON the camcorder. Switch it to the VCR (player) mode, but don’t put a tape in it (unless you intend to record from FCP to a DV tape.)
5. Turn ON the Video Monitor and set to view the “Video Input”.
6. Open Final Cut Pro on the Mac.
7. In FCP, make sure under the pulldown menu: View > External > ALL FRAMES is set.
You should now see the output of FCP on the camcorder’s viewfinder screen AND the external monitor.
You will also hear FCP’s audio from the speakers that you connected to the camcorder (this is important for audio/video to run in sync).
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This advice only applies to actual “LINES”, such as a straight line created in a Photoshop document.
It is advice to image creators to not build-in lines that are too slender.However, it does not mean you can do this to existing images.
But, what you CAN do is add a bit of Gaussian Blur filter (adjust until the excessive “sharpness” is reduced) thereby effectively “widening the lines” somewhat.
BTW, you should always view your output, during the edit, on an external video monitor (not the computer screen). This will reveal these kinds of problems (and allow you to fix them) before you output. This is how FCP is designed.
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Each network or station would have its own “specs”.
There is no “2 minutes up front followed by Titles” rule or similar.
TV shows producers/writers determine how the shows go together.
Broadcasters and cable-casters determine how many minutes for spots internally.
But to my mind, you’re kind of doing things backwards,
Unless this is an unusually compelling or unique, sought-after presentation, you might have a tough time getting someone to run it regardless of the “format” (although if the format is “unacceptable,” it WON’T run as-is, regardless.) Do some research with LIKELY broadcast/cable outlets.
Another option is the “vanity show” (think, “Infomercial”) where you would BUY the airtime or cable time to run your own show on your own “dime”.
Then you could decide EVERYTHING, format-wise, (within the time-frame allotted) for yourself. -
1. How LARGE are your image files?
2. Where are you viewing them for quality? -
This is a good answer, but to be practical…
DV tapes are very DENSE and cannot be erased (degaussed) with standard hand-held or small tabletop degaussers (aka Bulk Tape Erasers).
So to invest in the “industrial, super-high-gauss” machines that WILL erase Digital tapes may end up costing thousands of dollars.
Whether this is a good investment versus just tossing out the tapes (used, they might be worth only a buck or two each), giving them out still recorded, or finding and utilizing a local tape or computer shop that already OWNS one of these “brutes”, is up to you and your budget.Again, the kind of erasers that most hobbyists, radio stations, or even some TV stations commonly used in the 1960’s thru 1990’s don’t have much affect on DV tapes.
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\[Eli Mavros] “Also I tried doing a mixdown and that didn’t help either…plus it is only one stereo track of audio, which should hardly necessitate a mixdown.”
It would be a mistake to make such an assumption.
If you experience video or audio anomalies on the timeline, you should always try an audio mixdown, regardless of the number or kinds of audio tracks.
Sorry you’ve had trouble with FCP 5.
I have not heard of anyone else experiencing audio “moving or changing” on an edited timeline.
Wish the mixdown had helped. -
You must only monitor EITHER on an external monitor OR on the computer (not both).
If you do first ONE WAY, and then the OTHER WAY, there can appear to be an offset.
Otherwise, I can’t understand what you mean.
Once the track is on the timeline, it should not “move”.
Do you have the audio track(s) in question LOCKED on the timeline?
Have you done an audio MIXDOWN?