David Battistella
Forum Replies Created
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If I may mak a suggestions.
Try this.
Open your sequences in Tabs, so that it is easy to switch between them.
Marquee or shift select the part of the sequence you want
Use copy (apple key C
Use paste to paste it into a new sequence.
You might find Over time that this system is more efficient than AVID’s method, but it is the best way to accomplish teh same thing in Final Cut Pro.
David
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Open the nest in the view and apply the filter to the clip in the viewer
OR
drag the clip from the browser onto the clip.
David
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Make sure the codecs are installed in the correct Quicktime folder of your mac (root not user). and the files should play back fine.
David
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This has been answered in the FINAL CUT basics forum (where you also posted). Posters, please add to that thread instead of this one.
David
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Christian,
Try to KEY the footage instead of using overlay mode. You can also render the footage out of motion with an Alpha Channel. This should have it KEY automatically.
David
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Capture now should never be used in a professional workflow. I think it is designed for non controllable sources.
Letting FCP do the numbers work in your logging game is a bit of gamble.
I think that footage should be properly logged and batch capture used. The larger the project the more important it is.
Capture now is like building a house on sand.
David
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Set up a preset to convert 24 fps to 30 fps. Run all of the footage through that and then use that footage to edit with.
David
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The best way to do this is to let a video card, like a Kona 3 do it for you at teh end of the process. If you are needing to insert the 24P into a 30P sequence then youmight want to doa conversion of your footage with compressor.
David
Peace and Love 🙂
Read my Blog
https://blogs.creativecow.net/DavidBattistella -
So my questions are like:
1) If I get myself FCP 6 (I can urge school), and from what I have read, I only need to copy my finished editing to a new sequence set to be rendered in ProRes, and I’ll get improvement on the quality of the images, as well as the compositing effects, subtitles, color, etc… Am I right?? Are the differences big?
Yes,
Technically you should use Media Manager to create your final Prorez sequence in a new project and then do all of you effects and finsihing in that sequence..
2) But I have rendered everything already, so does that mean FCP will render it again? (So there’ll be 2 sets of rendering files and I have to free up more disc space?
Yes.
3) I’ve read some people capture HDV in ProRes codec before editing. But you need a capture card which we don’t have at school. Also in terms of my situation (I nearly finish my editing), it does not seem feasible to do. But does this really further improve anything (as opposed to editing natively and just set a ProRes rendered sequence)??
I think it would be better to CONVERT the media and then render.
4) Since HDV handle badly with color, so after I finished editing and all the effects handling, I render the sequence in ProRes. And next I go color correction. is this order right?? If my present condition only allows me to correct color with built-in filters that FCP offers, is the order still the same? Or I do everything with FCP first (effectss, subtitles, colors) and render them in ProRes?? (or are there any other good and economical choices in color correction?)
See answer above…
5) After all this, what’re the best output choices for me? This film might get a film print. But it’s not sure yet. Before that, what’re the best possible outputs? (especially if the ProRes workflow works, also considering a possibility of film print, could be considered seperately of course) Digital Betacam maybe? (This project is aimed to be screened in theatres in film festivals)
I would consider the following outputs.
DVD (film festival screeners)
DVCPROHD Tape based output (HD MASTER)
DIGITAL BETACAM (SD MASTER)David
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Create a sequence setting that matches the parameters of your source footage BEFORE you place your footage in the sequence.
You should be good to go.
David