Buck Miller
Forum Replies Created
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Alex, did you ever get a solution to your cable removal problem? and Bob, what brand of cable are you using? I am about to buy the BM Video Assist and I have heard about this problem so I want to be sure I buy the right cable. Thank so much.
Buck
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Thanks so much Erik. That is what I figured was the case, but I wanted to explore all options. I have seen youtube videos explaining how to do this on the Sony cameras with the Odyssey external. I don’t see myself needing high speed past the 120fps for any of my expected clientele, but my client’s client asked for it, so of course I came here after doing much other research around the net. Thanks again for clearing things up for me.
Buck Miller
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Thanks so much Trent. That did the trick.Thanks for the quick response.
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Hello Peter,
I have a similar situation, but did not seem to be able to use your solution. I am in El Capitan and PP 2015 CC. I want to be able to export QT movies, but have the timecode embedded so that the editor who downloads them will have it to match clips. Is this possible? I did not see the Timecode panel menu you spoke of, though I know your post was for a PP version of two years ago. Thank you for your help.
Buck Miller
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Thanks Michael. I did that, and that brought it all back to normal. Thanks for your response.
Buck Miller
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Just had the problem and found this thread. For me, it was that I had not actually competed the mask. I was drawing one using the pen tool, and got close but not right on the starting mask point, so if you have the lack of “add” “subtract” options, be sure you closed the mask.
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Dan,
I like your solution, but excuse my ignorance. How do I open another comp window of the same comp? I am using AE CS4. Thanks for the update!
Buck Miller
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Thanks Ted. I would like to test that theory. At this point, I am in a bit of a time crunch and probably going to need to find someone to build these for me. So later I will try that as I want to become somewhat proficient at greenscreen. Thanks for your time and ideas.
Buck Miller
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A little hard to explain but here goes. I shot an interview on a set, that looks out a window to a green screen. The frame of the window is made of brushed aluminum, so it got alot of green spill, that is very viewable from some angles. So I am actually trying to pull two keys.
The first key is the green screen masked off from the set. That matte looks pretty good.
Then I am taking that comp and putting it into another comp that pulls the second key, which is the spill on the window frame. I am trying to sell the shot by using a reversed copy of that background footage on the frame (replacing the green spill). It is working well in some, but not so good in this one, plus, the camera moves a bit in this shot.
So I am thinking that since the window frame has a real edge and is angular, making a mask or a black or white solid for it would be fairly easy. I have made the mask and it did well. The problem is, because it is “spill”, it is hard to pull a great key. Seems like if I could just “paint” onto the alpha where I want the key to happen, I can fill in the “holes”. I hope this makes sense. I can send you a file if that helps. Thanks Ted – really love your work.
Buck Miller
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I just found this post, as I am looking very closely at the Nikon 300s, primarily as an HD video solution for underwater. I am concerned about editing. So, a few questions:
Is Cinema Tools part of FCP 7? I have 6.x (FCS 2) at the moment. I had already looked at the Squared5 site, so I see that Streamclip is apparently the product to use for converting the Nikon’s AVI files. Will I need Cinema Tools as part of the workflow to ultimately edit in FCP 6.x? Is Streamclip the software to use (I have not downloaded it yet, as I do not have any AVI file yet) for AVI to QT conversion? Reading this and other posts, is Compressor part of the workflow?
Thanks in advance for your help,
Buck Miller