Bryan Roberts
Forum Replies Created
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Sweet Jesus, thank you lord! 🙂
That’s exactly what I’ve been looking for (on the mac it’s “command” + x) but that’s perfect. Lately, I’ve been working on several shows at once, some in Avid and some in FCP (not by choice, whatever the post house prefers to online with), all from my home edit bay and I’ve been switching between the two each day and sometimes each half day so as a more natural FCP editor and with a FCP mindset (even though I originally learned Avid first, back in 04′) I find myself in segment mode a lot in Avid. This is going to really help save some hair, 1000 thanks David!
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Ah, yes there’s that way… I just hate having to go and click exactly what tracks on the left hand side I want to lift when by nature, the clip I’m usually lifting is on the right hand side of the timeline so it almost always requires several mouse clicks rather than in segment mode, I can just click once onto the clip itself.
Thank you for the information though!
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Hey Mark –
This clip was exported “fat” out of FCP, just file export with “current settings” used so there’s no change of format going on here and then I just uploaded that file to my server. Hence why the clip is only 1 second, so the file size isn’t too big. I’ve done this before between post houses with no issue.
Can anyone tell what format this might have been shot in based on the test clip?
EDIT – after some more internet research and reading some old Ken Stone articles from 2005, it all came rushing back to me. SD 24p material with the 2:3 pulldown when you’re delivery is back to NTSC tape, you just capture and edit in the NTSC DV preset (29.97) as the 24p look is embedded in the footage, pulldown removal is not necessary. It’s been so long since I dealt with any SD footage and most of my HD footage is actually more simple to deal with as file based media tells you exactly what it is when you look at the file and HDV or XDCAM is simply HDV and HDCAM, we always go ProRes 1080… I had forgotten about SD! Anyways, think I got it now. Capture and edit SD 24p “normal” footage that is destined to go back to an NTSC tape for network delivery in NTSC DV 29.97 settings for capture and timeline. Also, if they accidentally shot some footage at 29.97 on the set or did in fact shoot everything at 24p normal, it’ll all properly fit on the same timeline.
Bryan
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Mark,
Thanks so much for that insight. It’s all coming back to me now (I guess the DSR-20 would always show 29 frames per second in the window with miniDV since miniDV can only record 29.97 fps which is why there’s pulldown introduced to make 24p media in the first place!). I’ve checked out pulldown before but I can’t seem to tell what this is on this clip.
Here’s a 1 second sample clip with a big camera jerk for a good motion test that has just been exported straight out of FCP – can you tell what this was shot at? I can’t seem to pin it down. Again, this was captured with the 24p NTSC easy setup but it captured the media at 29.97.
https://www.definingfilms.com/test.mov
(note the show is of a Howard Stern type nature and the one second clip has a girl in a bikini)
Thanks,
Bryan
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Nevermind, I figured it out – for others with this issue… you need to re-import the stills…
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Hmmm, well mine was on a half green circle so I tried full green and it did get sharper though my playback of un-rendered effects was definitely hit. Maybe it’s just my eyes playing tricks on me or maybe FCP does some weird gamma curve in the program to make images pop more…
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
Hmmm… I know how to change my display settings under system preferences but I’ve already calibrated that so that FCP and CC still pictures is fairly accurate. I also have my gamme set to a PC gamma which should have helped out as well. I wasn’t sure if there was a setting in Avid that I needed to change or could tweak. I also noticed this on my early avid shows for TLC back in 05 but I was editing off of the production company’s iMac so again, I was on a mac. Maybe it’s a Mac Avid VS PC Avid thing…
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
I have that same book and it’s a good one. However, I did take licensed Avid classes back in 04′ up to the intermediate level so I already had a base of knowledge to work from (90% of my work now is in FCP) – I just had to step back into the Avid world for a tv show and found that book to be a great refresher…
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
That’s a great tip Ed, thanks! I guess I’ll have to learn to accept this difference – that’s something I do in FCP just about every single time I use the program, I look at the audio plot in the source monitor before plopping music/sfx in my timeline. It seems like Avid puts an emphasis on being more precise before putting your clips onto a timeline, I’m curious why it seems the opposite with audio. Nevertheless, this will definitely help me out!
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com -
I’m sorry, I just realized, this wasn’t what I was looking for – I already know how to do that. I’m talking about in the left window monitor before laying down a music track into my timeline. Is there a way to see a sample plot of the waveform so I can choose where to lay my in point or out point BEFORE insert editing etc. into the timeline?
FCP / AVID EDITOR
Features : Television
http://www.DefiningFilms.com