[David Bogie]

Four views? Is this a stylistic decision? Why not simply set the layer to orient toward the camera?

You will be able to switch out the layers from a precomp using an expression that includes if-then arguments. It will look at the orientation or rotation values of the camera and turn transparency on or off for three of your four layers depending on the quadrant the camera is in.

That’s just one way to approach it. Give us a day or two for some of the expressions wonks to check in and give you a more reasonable solution.

bogiesan

[David Bogie]

You won that round!

bogiesan

[David Bogie]

Burning to a DVD-ROM or transcoding to MPEG2 for DVD authoring? Huge difference.

H.264 is a superb release medium but you will probably need to explore the custom settings available in Compressor to maximize your control over the output. H.264 probably has a very different tonal range than your original footage because it is so highly compressed in order to achieve the temporal fidelity.

Sorry I’m not at my FCP machine today to check all this stuff for you but look up some of the QT filters that are available in your options. Try black restore, white restore, and gamma/contrast tweaks. Here’s how I approach these things:
1. Create a short movie that has the range of motion and color issues you’re tyring to solve.
2. Create a preset in Compressor that contains the setting you want to tweak and give it a unique name.
3. Grab a screenshot of the settings using Grab.
4. Keep notes (the easiest way for me to do this is to super a text item that clearly spells out the settings)
5. Repeat but keep creating new an unique presets, don’t modify one thinking you’re going to be able to remember what you did.

bogiesan

[David Bogie]

> Thank you very much.< My pleasure. AE is really cool, hope you continue to have fun learning and exploring. And thanks for closing your thread; hardly anyone does that around here. bogiesan

[David Bogie]

Those stupid little Flip cameras are gonna kill us round here the day after xmas.
You can search the form for the camera model and its weird codec for hints on how to bring footage into FCP. I think most successful applications use MPEG Streamclip, a free format convertor.

> XviD (3ivx), 640 x 480, Millions
Microsoft ADPCM, Mono, 44.100 kHz< A few posts I've checked mention the "Mac version of 3ivx" is useless or even toxic. My workflow suggestion is to find the original files from the camera, hopefully they're on a PC and not a Macintosh. Run them through a convertor to create an interchangeable file such as plain old conventional DV. bogiesan

[David Bogie]

[renee bergan] “I’ve heard lately vague mumors that partitioning is a thing of the past, is it? “

Partitioning of a drive, any drive, is specific to certain types of file operations, operating system requirements, and a narrow niche of werdr applications.

Partitioning has not been a recommended setup for FCP since, umm, since always. Where you been?

bogiesan

[David Bogie]

[David Ellis] “they were working and rendering yesterday and now all of a sudden”

FxPlugs work best in FCP6, apparently. But if they were working yesterday, something has changed on your rig and only you might know what it is. Did you add a display to your system?

The issue comes up mnthly here and on other FCP forums. Search here first and you can use google to find many off-the-cow references. The possible solutions are as weird as the circumstances.

bogiesan

[David Bogie]

Instead of clicking on options, you need to open the Quicktime dropdown menu to the left of the option button.

bogiesan

[David Bogie]

Another quick fix is to change the duration of the audio to match the video. We used to do this all the time with Canon’s non-standard DV codec from the old GLs.

Unlink the audio and video tracks. Write down exactly ow long the video portion is. Slect the audio, adjust the speed to match the video length precisely. Relink the tracks, render. If you want to make sure it’s always in sync from now on, export the media and reimport the newly created media.

bogiesan

[David Bogie]

Welcome to the family of frustrated multicam newbies.
Most of the issues with multicam are simple user errors. The red render bar indicates your clips do not match your sequence settings. You have not provided enough information for either me or Tom to suggest anything else.

Apple’s approach to multicam is clear as mud but, I must say, it works and it’s fun once you get it rolling. It’s just not as easy or intuitive as Apple wants you to believe.
Suggest you start with shorter clips, say, 30 seconds max, and follow the setup very carefully, step by step. It’s all too easy to leave out one subtle step. And remember that the editing you do in the timeline is an effect. Once it renders, you cannot go back and easily re-edit the cutting until you unrender or delete the render media.

bogiesan