Bret Williams
Forum Replies Created
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I think I would type a great big “o” in the type tool, then have it transition on with a soft edged clock wipe so it appears to be drawn on.
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Well you don’t get animatte for $999 bucks on Avid. It’s an add on or only comes on the more expensive systems if I remember correctly.
We have an add on called Motion, which is pretty nifty too. But to tell you the truth, I haven’t tried to draw any mattes in it. I assume it can though.
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If your mic is plugged into your DV deck, you most likely need to have EE set on and/or the record button pressed to see any levels.
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In the latest tips and tricks from the LAFCP users group they point out you can add plugins by doing a simple get info command on the app itself. There’s a add plugin area, and you can also turn plugins on and off.
Would be nice if Apple actually included this function within the program akin to macromedia products. Especially since FCP was a macromedia product first! 🙂
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Yeah. If you want to be able to turn the effect on and off, best to nest it. But FCP should institute some sort of effect layer akin to PS and AE.
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DV doesn’t support this feature since it’s essentially a file transfer. Beyond that, support for the feature is up to your capture card. Most don’t seem to support it.
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Well yeah, then just highlight the 2 sequences (or put them in the same sequence) and then do a media manage to cut out the unused footage and create the handles, etc. etc. Just like you usually do on an online session.
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Make sure your sequence settings aren’t set to super-white. That will make the problem worse. For example if you create white elements in FCP, those white elements will be mapped to 110 ire in FCP, but then clipped when rendered in RGB space in AE. Or something like that. If the stuff coming back from AE it getting it’s brightness clipped, then that’s probably your problem.
In the past we had to map the luma values up to RGB levels when we used stuff in AE. Then apple changed the DV codec and all seems well. But if you have extra bright images from your camera, they could be getting mapped up and off the chart, and getting clipped.
So best to just make sure all your levels are safe in FCP before exporting.
AE renders things very differently. To preserve quality, it takes every frame of every element and first converts it to an uncompressed RGB image. Then composites it, then renders the frame into your chosen codec.
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Er, NO. That is NOT what I’m expressing. What I’m saying is that with a measly dual G4 I can get 2 layers of realtime, full rez, full frame rate out to DV or NTSC monitor or whatever. Real Time. No rendering. That is what FCP will guarantee (no guarantees in life) in safe mode. But if I switch to unlimited, where FCP gives it it’s best shot, I can get 2 layers of video and a still graphics layer. Give me a dual G5 and I’m guessing I can get many layers of DV.
In fact, on the Aurora IO systems (a less than $500 break out box) you can get 5-8 layers of real time uncompressed on a dual G5. Yes, out the component outputs, sdi, etc. Whatever you want. If you switch it to safe mode, you’ll probably be guaranteed 3 or 4 layers of uncompressed. Pretty much works just like the avid series. The rt is being done by the processors, so it scales up the faster processor you have.
Don’t know what the sales weasel was telling you, but it is a real time system. I just render before output because things happen. I want to be 100% sure that everything is rendered to full quality and there isn’t going to be some hiccup that I missed. I think the client deserves that.
There’s a lot more ot editing than rt. The interface and editing ability for one. Haven’t heard a lot of rave reviews about this Edius thing. Never heard of it at all.
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Isn’t 720p still SD. The clip he’s dealing with is HD.