David Eaks
Forum Replies Created
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Using FCPX, I have been pleased with the results from editing in HD (1920×1080 for me), exporting the finished edit with current settings, dropping the resulting .mov on an SD timeline and exporting again with current settings to make an SD version. Use these files to compress/author/burn as you please.
Do you have a Blu-ray Burner? Personally I would be doing my best to emphasize HD to the families. Feed live video to a ~40″ Flat screen in the lobby (preferably near the table with cookies for playback during intermission). Run Belden 1505a HD-SDI to the TV and convert to HDMI with an AJA Hi-5. Hand out bibs so the parents can wipe the drool off their chins, and get yourself the Square (or similar) Credit Card reader for iPhone so they can give you the money while they are so impressed with the clarity and quality of your video.
Question for you, have you also shot recitals in 1080i 59.94 but found that the increased temporal resolution of 720p 60 gives a better result? Or just always shot 720p since you started in HD?
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A quick google search of “field monitor with hdmi loop out” returned some results. Marshall Electronics has a few, here is a random one that I just came across-
https://www.lcdracks.com/monitors/model/V-LCD70XP-HDIPT.phpHow long is the purposed HDMI run to the stationary monitor? As I’m sure you know, HDMI has it’s limits. Another possible solution for you, if your current stationary monitor and the new field monitor you choose have HD-SDI input, could be the AJA HA-5, Blackmagic HDMI to SDI or the battery powered Atomos H2S. Each of these have one HDMI input and two HD-SDI outputs. But that may or may not work for you.
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I reccomend creating a new folder in the Applications folder, sticking FCPX, M5 and C4 in there and then installing FCS as normal and update it. After installation and update make another new folder in Applications and put all of the FCS Apps in it and then pull FCPX, M5 and C4 back to the root of Applications.
The logic being that software update doesn’t recognize Apps that are in subfolders, FCP7 is not likely to have any updates so it’s fine in a subfolder.
On the other hand, if FCPX is left in a subfolder you can still get the additional content (which would normally be downloaded via software update) through the menu FCP> download additional content.
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[Shane Ross] ” If FCX slips the timing like iMovie does, that’s a serious problem. But I don’t think it does that.”
Up until 10.0.3 there was a toggle in preferences. Either “Full Overlap” or “Available Media”. Now it’s just automatically available media. I swear there was also a period of time when if you tried to add a transition but didn’t have enough handles, it would ask if you wanted to use full overlap.
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I resonate with Marks comment-
“For someone working with file based formats, doing everything ‘in-house’ and delivering a file based end product what possible advantage is there in returning to FCP7 or Premier Pro?”FCPX works well for me, very well, but everyone’s workflow and requirements vary greatly. It may or may not fit your needs now but maybe it will completely fit your needs, better than any other NLE after the next couple of updates. I’m not saying I expect it to be perfect, but I’m optimistic that many of the remaining missing features and minor “gotchas” will be reimplimented and fixed.
I definitely think it is worth learning but be warned! In the beginning you may feel confused, even disgusted by its very existence. Then irritated and betrayed simply because it makes you feel this way. Stumbling around places you are sure that you should be familiar with, everything seems simplified but you still can’t figure it out. It is offending and off-putting. After a while strange things will begin to happen. The world seems to shift around you, yet somehow everything is still in its proper place. Your belongings are available to you without having to go find them. Being unable to travel, yet capable of arriving at the destination. Just as you regain your bearings and can exploit the benefits of this new way of interacting with your surroundings it is too late, captured. The beast gently coddles you, imprisoned within in its fierce claws. Transforming you and your way of thinking, molding you to its will. All the while trying to observe your needs but fumbling with such a small and very demanding thing in it’s massive grip. Struggling not to rip you to shreds while it keeps you from slipping between its fingers. You are free to pick up and leave at any time, though not without the possibility of having been permanently infected. If so, nothing else will satiate the hunger. Should you accept this existence as a new being, a hybrid created in the reality distortion field of this omnipresent but only self-aware entity, you may be viewed by some as a freak. Although somehow you know that you have been bettered by the experience. Greatly enjoying your new life and feeling confident that FCPX will eventually make up for its own shortcomings. At least that’s how I experienced it, maybe a tad dramatized. YMMV.
Even if you just decide to go with another NLE in the end, it’s worth it. Who knows? You might like being a freak. A “ProX”, I do.
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Just thought I’d mention that I have been able to get FCPX to sync clips (that wouldn’t sync properly otherwise) by letting FCPX analyze the camera audio for both loudness and background noise. Even if the analyzed result sounded terrible to me, FCPX could sync the clips, then I just turn off the loudness and background noise audio enhancements.
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As I understand it, Shutter Angle describes the relationship between frame rate and shutter speed based on the real physical rotary shutter of a film camera, unlike our digital cameras, but the concept still applies. For example, to change the “angle” of 30fps video, you would simply adjust the shutter speed. I couldn’t find the specific video that helped me figure it out but I found another one that works. At about 1:30 there’s a good graphic that makes the concept of Shutter Angle easy to understand. There’s also a link to the guys website in the description for more reading if you’re interested.
https://www.youtube.com/watch?v=OTqR7XkBEj4&sns=emI agree with the suggestions for shooting 1080 60i but it might be worth trying out 720 60p as well. While I’m not really experienced with 720 60p (or is it “p60” if someone could clarify the meaning of where the letter is placed, I would be most grateful), I think you can shoot at 1/60 shutter speed to get the “normal” amount of motion blur (and same exposure levels that you’d get at 1080 60i 1/60 shutter). As opposed to U720 60p with a shutter speed of 1/120 (1/125) which would be 180 degrees, for the smoother motion of 60fps and the crisp low motion blur of higher shutter speeds.
In consideration of panning the interior of rooms, I think you would want the least amount of jitter and as crisp and low motion blur images as possible. Seems like 60p and as high of a shutter speed as you can get, light permitting, fits the bill. Thats my theory anyway, FWIW.
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You could also move the “clip connection” point of the audio (the little green line connecting the audio to the first frame of the short clip on the primary). Point to the place you want to move the connection to, hold cmd and option, and click. I think in your case you could connect the audio to the video clip after the second gap clip. That way the audio is not attctched to the clip you want to move. Then use the P tool to move the two clips into the desired position, and everything else should stay put with gap clips filling any voids.
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For sure! “Option drag” has been my best friend lately, looking forward to seeing what the next update brings though.
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Select the clip in the timeline then hold option and drag to copy the clip, drop the copy below (keeping in sync with snap to edges on). Lower the audio on the upper track and use the lower one as if it was only audio. Does that work for your purpose?