Boyd Mccollum
Forum Replies Created
-
You could also use Compressor to transcode directly to HDV.
-
I dunno, a high school student asking for a student discount doesn’t sound too spoiled to me.
-
You need to think in terms of day-to-day back up as well as long term storage.
At a minimum, I’d keep media files separate from the project files. Keep media on the external drive and all other project related files (FCP project files, audio, stills, scripts, etc.) on an internal drive. You can then do a daily back up of the project files (keep it in one folder, with subfolders based on the different elements in there) to the external drive you have the media on.
-
If you created the subtitles with Apple’s texts generators, you can use an application called TitleExchange. You export an XML of your sequence and import the XML into TE, then select the track your titles are on (the version I have only does one track at a time). It then creates a text file for you along with the TC for in and out points. It’s good practice to be consistent with which tracks you put your titles on, and to have dedicated tracks only for them.
-
I triple ditto that. Thanks!
-
You can do it in FCP. Duplicate the clip with the person you want to highlight and place it above the original clip. Add a Mask Shape filter to the duplicate clip (Effects/Video Filters/Matte/Mask Shape). Reduce the opacity of the bottom clip, it’ll help you see the mask and the amount is up to you based on how much you want to highlight your subject. In the Mask Shape filter, adjust the shape and size to what you need and use the Center crosshair to center the mask on your subject. Keyframe for motion as needed.
-
[Eric Holzapfel] “What I have been doing is opening FCP, and using the “Easy Setup”, and changing settings to what I think I need, and then closing the “untitled” project, and opening up a new project with the settings I set using the easy setup process. “
You can have multiple sequences in one project with different settings. Cmd+N creates a new sequence. Select the sequence in the browser (before opening in the timeline) and Cmd+0 opens the Settings dialogue box. Change settings to whatever you need. NOTE: once you open the sequence in the timeline you won’t be able to change the timebase. So if that’s important, do it first.
-
If it’s the Mac Pro, it should work well for “smallish” projects in FCS 2. I’d recommend getting a good graphics card.
-
David,
If you want to go by technical definitions, I know “an NLE” refers to one of the current crop of computer-based editing systems such as FCP, AVID, etc. Also, by the strict definition, “linear editing” refers specifically to a tape-based editing system that uses one or more source decks that then record to a VTR. In these cases, film-based editing occupies its own niche.
However, in a broader sense, what constitutes linear and non-linear goes beyond just being able to instantly place your playhead at some point. It’s not about “scrubbing” through footage in a linear fashion. What makes tape-based editing systems linear is that cuts must be made sequentially. The most common example would be making an insert edit. You would need to reconstruct in some fashion all the edits that came after the inserted footage. In non-linear editing, the footage after the insert is just pushed down the timeline and doesn’t need to be recreated.
As for random access, film is random accessed, if not to the same degree, speed, and precision of a computer-based NLE. In film editing, footage is broken down into discrete clips and organized into bins (a lot of the nomenclature for FCP comes from film editing). In film editing, you don’t need to scrub through Takes 1, 2, 3, and 4 to get to Take 5. You grab Take 5. In a tape-based system, you would need to scrub pass the first 4 Takes to get to Take 5. At that point, all editing takes on a linear quality, even in “an NLE”, while you look for the exact in and out points to make a good edit (aesthetically, etc.).
One could even make an argument that film is the original “digital” format. One frame is one frame. It’s either on or off. (yes, I being somewhat humorous and realize that film isn’t really digital and doesn’t meet most, or even all, the criteria for being digital. In the same way that I understand the difference between film editing and computer-based nonlinear editing.)
The point of my original comment was that film editing has a lot in common with today’s crops of NLEs and the way we edit today has its roots in film editing, hence me saying editing film was the “original NLE”. Anyways, for those that want to view film/film editing as being “linear” that’s fine. I disagree, and won’t belabor the point.
Regards,
Boyd
-
I’m not sure how film is linear. It may not be computerized, but it is random-accessed. In fact much of editing in FCP uses film editing methodologies, though a whole lot faster, if not as tactile. IMHO.