Bret Williams
Forum Replies Created
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NO. That would be an exception. If you create any graphic that MATCHES a standard non-square pixel size, then FCP will determine that that graphic is non-square and treat it as such.
If he were creating a logo for example, he would create it at whatever size is appropriate. If it were a wide logo it might happen to be 800×200. If you wanted something huge that you could zoom in and pan and scan, you might create a logo or graphic at 2200×2000. These are arbitrary numbers. FCP would see them as standard square pixel graphics sizes, and add distortion (in the motion tab btw) so that they match your non-square pixels in your seqeunce/video.
It’s that simple. But if you create graphics that match a video frame size, 720×480, 720×486,etc. then FCP will assume you’ve done the diligence and already converted it to non-square pixels. It will not add the distortion. If this is incorrect, you can add the appropriate distortion in the distort area of the motion tab.
To make it more confusing, PS actually supports square and non square. You can simply create in a 720×480 NON-square document in photoshop as well.
HTH
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I thought this was interesting so I looked it up. In a 32bit addressable operating system any app can access up to 4GB. Including FCP. The maximum allocatable doesn’t include the 1.5 gigs of libraries that FCP can access. So FCP can utilize 4GB total. If you want the most from FCP then you’d want another couple gigs for the operating system and of course other running apps… mail, ps, ae, safari, etc. Plus, you don’t want to max the ram anyway, just like it’s preferable not to max the hard drive. Leave a little overhead.
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As long as you’re working in an anamorphic sequence your designers should be able to create at standard square pixel dimensions and FCP will take care of applying the correct distortion.
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Well I don’t use HDV myself, but since it’s the exact same data rate as regular DV, I’d think you’d be just fine with the internal drive. Certainly during editing. If you have any problem with output you might move it to an external, but you’re probably fine.
With DV you get roughly 5 minutes per gig. Should be the same with HDV. However, you will have to “conform” as I understand it, before output. That will take a few extra gigs depending on the length of your program. With a 160 gig drive internal, I’d leave a good 30-50 gigs free.
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Shouldn’t have to render audio in any case. FCP can make the conversion in real time. 10, 20 or more tracks. Just depends on how many real time audio tracks you have chosen in prefs.
DVCam locked audio has something to do with the audio samples being locked to particular frames. As I understand it really comes into play with linear editing, so that when a camera does shoot out of exact 48, it won’t affect you when editing linear. Supposedly this doesn’t make much of a diff in non-linear, where you’re capturing chunks that can then be analyzed by the system.
FCP does analyze your clip when digitized or imported. When you place a clip in a bin, FCP checks the number of audio samples, and the number of frames and does some basic math to determine the audio rate so that FCP doesn’t play the audio back at the wrong rate. If FCP were to play your audio back at perfect 48 when it’s not, then the audio would slowly drift out of sync, noticeable after a few minutes. Not noticeable on shorter clips.
There used to be a checkbox in user prefs that made this checking an option, but there was no reason to leave it turned off. I guess they got a lot of “out of sync” complaints from people with it turned off.
At the time, the notorious cameras were the canon xl1 and gl1. I don’t think anything has changed. They still have audio and head alignment issues 8 years later.
But anyway, the 48.009 khz thing is fairly normal. It’s 99% of the time simply the way the camera recorded it. It shouldn’t require rendering. Of course you’ll do a mix down before output as always.
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Unfortunately most settings are not project or even user based. Cross your fingers that FCP moves into the nineties in this area with FCP 6. Capture scratch is one of those settings. You’ve just got to remember somehow when you change projects.
I think with sequence presets you’re in the same boat. But you can set FCP to ask every time you create a new sequence. That should be enough to get your attention. Then just click “load seq preset” and choose the appropriate preset.
You can also create a “template” sequence in each project. Instead of creating a new sequence, just duplicate the blank “template” one that is already set up how you like.
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[Thax] “If you re-position graphics, make SURE the VERTICAL setting for each KEY-FRAME is an EVEN INTEGER (Even Whole Number).
Examples: 6, not 5 / -124, not -123.27. “Just something I noticed. With the latest version (maybe 5.1.x) FCP always ensures that it stays on a whole number when dragging in wireframe mode.
Now apple, was that so freakin hard? Took ya 7 years to come up with that gem of a solution.
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With stills, sometimes it’s even more convenient to build the page and then just press shift+n to make a freeze frame and drop it into the sequence where previously you had a stack of images. Then add the page turn.
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Oops. Obviously meant Adobe.
Check post below – in doing the math, it’s a 50% price hike for that particular upgrade not 130% in GB pre VAT. So not knowing what embedded US and GB taxes there are on imports/exports, plus international shipping, it may come out about equal. I don’t really know.
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I was looking at pounds, but converted for euros! Also, it looks like the prices are witih VAT and without. In converting your particular upgrade, which is 465 pounds pre VAT, the exchange rate comes out to 914 US dollars. The US price before sales tax is 599 US dollars.
That’s a 50% price hike. Not 130%.