Chris Poisson
Forum Replies Created
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Try setting in and out points before you export, or select all the clips. If that doesn’t work either trash your prefs or just export a movie for Compressor.
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The easiest way to do this is make the speed change to the clip in the viewer, then edit it back in, using just the section that fits in your timeline.
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Just change the first one, select it and press command “C,” then select all the others and go to edit, paste attributes, select “basic motion,” and you’re done.
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Tracy,
After you apply a filter, double click on the clip to open it in the viewer. There will now be a filters tab, it’s exactly like the motion tab.
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Tracy,
Yes, of course you can make keyframes on filters. Only problem is how bad keyframes suck in FCP. You can’t copy and paste them, only “paste attributes” which is retarded at best. You can’t swap them either, so if you want to reverse an effect you have to manually do it over. Also if you apply a transition over keyframes you have to physically drag them to the beginning and/or end of the transition.
Still looking forward keyframing in FCP? It only gets worse. You can save effects as a favorite, but it will be lost if you trash your prefs. Saving a favorite does not save keyframes, although it will save basic settings, where pasting attributes will paste keyframes. A lot of users make favorites project-specific by saving them in a different bin, but then you have to open that project to get at them, which I guess isn’t too bad if you get used to doing it. Maybe someone else has a trick for saving keyframes, I lost the patience to find a way to do that 3 versions ago. One last thing, velocity controls? Ha! Good luck.
Well there you go, you got me on a mini-rant which I wasn’t even thinking about. It’s just that keyframing is a totally basic functionality Apple has ignored after all this time, and by the look of things always will. Give me REAL keyframes and background rendering, and I would shut up forever.
Have fun!
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Interlacing may not be your problem, if your footage was shot on film then you are likely dealing with pulldown, which cannot be removed by deinterlacing.
If it is video footage, then you can deinterlace in FCP or in Compressor as you encode. Otherwise you need to use Cinema tools or After EFfects to remove the pulldown.
I used to work in an agency where everything had pulldown in it, I always had to remove it so that the spots would play clean in Powerpoint. I used AE and rendered out at 24p.
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I still cannot capture 1080 with ProRes with my LH and G5 2 gig. Update no help.
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Carl,
There are two things that can help. First, make sure your jpegs are optimized properly in Photoshop. Make them 72 dpi at no more than twice your frame size, or less if you’re not zooming much on them. Just open them in Photoshop and make any changes, you may need to re-connect them when you’re done.
Next, in your sequence settings, in the video processing tab, set the motion filtering quality to fastest. That will render faster, although when you’re done, you’ll want to change it back to normal or best and re-render.
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Stephen,
More info please. How are you trying to capture the footage?
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Chino,
Why on earth would you want to render an mpeg2 out of FCP? I don’t even think that’s possible anymore. That’s why there’s Compressor.
On another note, rejected renders for me have been fixed by creating a new project and copying and pasting everything from the offender over to it. Do a rename and it should work. That project may be corrupt.