Colin Mcquillan
Forum Replies Created
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hum… there’s a bunch of things you could try,, if the footage is interlaced,, throw a de-interlace filter on it,, if the flicker exists only on one field,, then this could reduce the problem to an acceptable level,, If you have the natresse filter pack I would play with the different types of de-interlacing options there.
hand held usually means shaky.. unless i shoot it, then it means steady as a rock 😉 ( I think my nose just grew a little there) this means masks are going to be very tricky,, with stock FCP effects you would have to keyframe the heck out of your mask,, time consuming, but do-able.
Colin McQuillan
Vancouver BC -
I believe he is refering to the new bundled software that will come with Studio2.
Is your shot locked (on a tripod) or moving? if your shot is locked you could easily mask the window,, and replace with something else,, you could do this with a moving shot aswell,, but I would make a tracking mask for that in after effects.
since the window was blown out, im assuming what is seen through the window isnt important to the composition of the shot/scene?!?
Colin McQuillan
Vancouver BC -
and better looking too!
I dont really use STP all that much,, I’m more familiar with pro tools,, but you should be able to create a sub-master fader,, patch what ever tracks to it,, and use it to lower the overall level of your composition. I would imagine the master gain controll would work just fine aswell. In a protools session I would usually create a sub-master for all my Dialogue tracks, another one for SFX, another for BG, and one more for music, for finer control over overall mix.
I would imagin someone in the Soundtrack Pro Forum could better answer any STP Q’s you have!
Cheers,
Colin McQuillan
Vancouver BC -
the guys at FedX have always been helpful!
okok bad one there…
[Devin Crane] “I know what our broadcasters want, it’s how to get there is what I’m wanting to hear from other editors on.”
what exactly do you mean,, exporting from STP to FCP?? conforming your mix to their specifications? My personal audio workflow??Colin McQuillan
Vancouver BC -
as Andy said, you really need to contact the broadcaster,, or if you arent in contact with the broadcaster,, then either the producer or post-supervisor should know the specification of the deliverable media..
-20 with a shelf of -10 would probably get you by for regular broadcast,, but I have had to submit audio to many different specifications,, from -12 tone to -20 , with peaks maxing with tone,, to entire mix’s compressed to a +/- of 8db. Lets say the broadcaster sets your -20 tone to -12 for boradcast,, now your peaks are getting pretty darn close to 0db,, which is a very bad thing..
Colin McQuillan
Vancouver BC -
you could continue on the way you are,, and bring your master level down 9db when you marry your audio back to video in FCP. or master it in STP to peak at -10. Either will work as long as its done before you go to tape. I would do it right in STP rather than wait.. If you are going through the prossess of doing a proper audio edit, best to finish it to spec in the audio application IMO rather that fine tuning in the video app..
but again,, either or will work.
Colin McQuillan
Vancouver BC -
[Jon_Alpha] “When you say re-render do you mean, just CTRL+R the whole sequence?”
either alter the affected clip (ie: reduce by 1db then bring it back up 1db) or right click -> remove attributes. this will remove the clips links to any previous render files that are ‘ghosting’ your clip. then render the clip again.
[Jon_Alpha] “I have 22 audio tracks (not all with continuous audio on them) on a 75 minute film”
that’s quite a few tracks..
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[Colin McQ] “upposed to sounds like audio render files being refenced, you’ll need to re-render the cross-fade to get rid of that.”
**referenced**
Colin McQuillan
Vancouver BC -
Was all your audio imported into your project with at the same bit/sample rate as your project? if your timeline is 16bit 48K be sure to converet all audio to 16bit 48K BEFORE importing it into your project. also FCP doesnt really like MP3’s,, be sure to converet any music/SFX to aiff format.
the music showing up where its not supposed to sounds like audio render files being refenced, you’ll need to re-render the cross-fade to get rid of that.
also try to keyframe the audio level down (just like opacity of video) instead of using the cross-fade effect to see if the pop continues. aswell,, check that the “for level” and “for playback” options of the render all selection are checked.
Colin McQuillan
Vancouver BC -
About a year or so ago I had a few huge colour/motion blur issues with Motion and round tripping. Since then… I always export a .mov from motion and import the .mov back into FCP.
This is what happened a couple times before I switched to import/export method
select clips in FCP timeline, R-Click => send to motion. Motion opens,, I manipulate the clips, save, then alt-tab back to FCP. Now back in FCP the original clips are replaced by the motion project and the colour is aweful and movement is very jittery. I was using was soccer footage. Perhaps all the green was too much for it?!?Colin McQuillan
Vancouver BC