Darren Roark
Forum Replies Created
-
This sounds like a very frustrating process.
I’m with Bill that some of the JPEGs could be corrupt. There are corrupt jpeg finder apps I’ve used in the past. AFAIK FCP X does check files as they are imported so what you are experiencing points to some rough files.
-
I usually label each camera angle in the order I want the angles to be in the inspector. A B C and onward. I also label the audio as Z so it’s at the bottom.
-
What format are the images?
-
Did you try what Anna said to do in the previous post? “>Click File-> Open from Back up and choose your last back up.”
Hope it works.
-
Neat video is so good many colorists use it in Resolve instead of it’s own noise reduction.
Make sure you find the preferences and optimize.
-
Essentially it boils down to mining the color information from the three extra UHD to HD pixels for the color information.
The initial tests I’ve seen look promising but I don’t have definitive evidence that it’s a true 4:4:4:4.
-
When was the footage sync’d? I had a similar issue with SnL last year.
-
It also works for slowmo. I usually shoot my music videos at 30p with the audio sped up 20%, the performance is given a slightly smoother appearance without it being directly noticeable.
A trick I’ve done to be able to know what part of the song I’m using is I make a video in FCP X of the song at normal speed with a nice big timecode burn, then I export, bring it back in to FCP X, adjust the speed, then export that to an iPhone compatible mp4. I do this for all the speeds I may use. Label them 30fps, 36fps, 48fps etc.
Then the iPhone becomes my smart slate and audio playback device. Been doing this since the iPod Video came out. Very handy.
-
[Simon Ubsdell] “You can totally keep all your existing organisation and add this over the top and you haven’t lost anything. You’ve just hopefully gained a really useful tool. “
If we like our multiple events we can keep our multiple events.
I’m still getting my head around this but this is groundbreaking Jedi master level stuff.
-
There is some really cool techniques in that.
What it looks like to me is a combination of methods. Some of the moves look like they were done in camera on a crane or steadycam. Some look like VFX stitching/morphing to a different camera with a tighter lens.
I’m guessing here but it also looks like they had multiple cameras with different focal lengths on the same rig. Some of these looks could be achieved by shooting 4K or higher and then making a zoom effect for a 1080p finish. You don’t want to zoom in past where the lens starts to look soft.
Not all lenses are great for that. Pixels are not created equal.