David Eaks
Forum Replies Created
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[Dennis Dean] “I’ve tried dropping the setting onto the clip – but it adds the new setting, doesn’t get rid of the old setting.”
Drop the new setting ONTO the old setting.
[Dennis Dean] “Seems like I should be able to drop the clips onto an empty batch without a setting being automatically assigned.”
When I bring in new clip into compressor (ver. 3.5.3) there are no settings on it, the clip just say’s “drag settings and destinations here”. To apply the same setting to multiple clips, I highlight each of them and drop the setting to one clip and they all get it. Check Compressor>Preferences for the “Default Setting” option, mine is set as “none”. Presumably, you have your preferred DVD Setting set as the default.
To do what you want, as things are now (bunch of clips with unwanted settings)- select all clips, control-click (right-click) and select “remove all targets”. Then drop the new setting to one clip (while all the clips are still highlighted) and they will all get the new setting. If you need to apply a new destination to all clips as well, highlight the setting on each clip, right click and select “destination>xxxxx”. This will apply to all.
or
Highlight all clips, remove all targets, add destination, highlight all settings, right-click one and choose “change setting” to change all the clips settings at once. But changing the Compressor>Preference>Default Setting, to “none” is probably the best way to go about it.
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1- None, buy it separately.
2- Faster machine is “better”, upgrade RAM yourself.
3- Yes, if the cost means you have to get a lesser machine.In my opinion, buy the fastest machine you can afford. Get the basic stock RAM and then upgrade it yourself. Haven’t checked recently but Apple’s RAM is overpriced.
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Try highlighting each clip that needs the new setting, then drop the setting a clip. Setting should apply to each highlighted clip.
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I like Anders idea if blocking the door with polycarbonate to contain the bottles. For “the mystery of the source of the bottles” you could leave just enough space at the floor to fit the bottles into the elevator. Have a group of people (laying down out of the shot) frantically shoving bottles in (and not letting them back out), effectively pushing the bottles already inside up and up and up. Whether or not you can get enough bottles shoved in to fill the entire elevator within 3 min 26 sec, I don’t know.
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[Anna Wysocka] “I am tired of mighty mouse – scroll seems to get jammed all the time.”
Whenever my Apple Mighty Mouse stops scrolling properly I just unplug it, hold the mouse button depressed then roll the ball in all directions pressed against a clean cloth. Works every time for me!
Besides the point of what mouse to buy, I might suggest supplementing your mouse with a Magic Trackpad, both work at the same time. I love having it by my left hand for quick “pinch to zoom” in the timeline (I zoom in and out a lot), scrolling, multi-touch gestures and in case I run out of mouse pad space while dragging I can continue to drag with the Trackpad before letting go etc. etc..
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Leave your video in it’s original size. Don’t change the aspect ratio.
If you add “letter boxing” (black bars on top and bottom) to 16:9 video (to make the video fit on a 4:3 display) then upload it to YouTube, YouTube will add “pillar boxes” (black bars on the sides) to make your video (with the letter boxing you added) fit in it’s wide screen player. So, don’t add letter-boxing to wide screen video that is destined for YouTube.
YouTube help, Optimizing your video upload. See “aspect ratio” section-
https://www.google.com/support/youtube/bin/answer.py?hl=en&answer=132460
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[Michael Slowe] “Well David, since time is of no concern to me whatever I don’t really notice how long things take but probably not much different from you. I’m making documentaries so my edit doesn’t start until all shooting is done and that may be over a few months.”
I’d be very surprised if Toast encodes for Blu-ray anywhere near the speed of Matrox MAX. Almost all of my shoots are 2 hours, Compressor alone was taking something like 12 hours to make my H.264’s, which was unacceptable for my workflow. I record High School plays, Ballet Recitals and Lectures/Meetings etc. and need to have a quick turnaround.
[Michael Slowe] ” I ingest and edit in ProRes HQ 422. If you are editing in that codec as well why go to all the trouble of going out of the camera SDI?”
Well, it all just came together that way as I pieced together an HD setup. Started with one Sony NX5 and went from there. Not really going through any trouble for HD SDI. Is there a reason I shouldn’t be using HD SDI? Or should be capturing in a different codec? I’m always open to suggestions and constructive criticism but I’m pretty happy with my setup. Eventually I’d like to get an AJA KI Pro Mini (or just something other than capturing on the MBP) for recording on the field though.
[Michael Slowe] ” I don’t follow your switcher and Matrox complications”
I shoot with two cameras, one at a wide angle of the stage and the other for closeup’s, switching live during the show. Program out from the switcher goes into the MX02 which gives the signal to FCP for capture. My audio comes from a Mackie 1402 VLZ3 into the MX02 via XLR.
[Michael Slowe] ” Obviously most people still want DVD’s and my BitVice downscaled and encoded discs are good but not as good as BD”
Same for me, mostly DVD’s still. I also use my MX02 for down-scaling (it is a HUGE multi-tasker for me). It’s done in real time, playback off the HD timeline and record to DVD from the MX02’s A/V output. Happy with the results. Yet another use for the MX02 is accurate monitoring while editing.
[Michael Slowe] ” I take my time, film making needs a lot of thought and reflection, rushed stuff looks – well – rushed.”
I can definitely understand, with certain projects I’ll take hours with little things that should be done in minutes. Going back and forth, fiddling and deciding what to do with it. For the most part though, I shoot a finished product. Just throw title’s in at the beginning and end, encode, burn and deliver.
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Hi Michael,
Sure, on the field I shoot with 2 Sony NX5’s (recording internally on 32GB class 10 sd cards as backup/b-roll), HD/SDI out’s to my Panasonic AWHS50 Switcher, HD/SDI to MX02, Express 34 into 17″ MBP. I capture the switched signal live in FCP as PRORES. So, I shoot in Matrox PRORES 1080i, transfer the capture’s to my Mac Pro and am ready to edit.
I thought my workflow was pretty slick. I export a REF movie because it’s fast and I don’t need a “real” .mov taking up HDD space. Matrox MAX (Compress HD) gives faster than real time H.264 encoding. So a 2 hour show encodes in just under 2 hours. Using “Send to Compressor” from Final cut, instead of giving Compressor a .mov, results in slower encoding. It was my understanding that Toast’s encoding is terrible, so Ive avoided it. A 2 hour show burns to BD in ~40 minutes. So, from the moment I’m done editing a 2-hour show, I’ll have a finished Blu-ray in about 3 hours.
Out of curiosity, what’s an average duration of your video, how long is the .mov export and how long does toast take to encode/burn it?
H.264/MPEG-4 AVC Wiki- https://en.wikipedia.org/wiki/H.264/MPEG-4_AVC
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I’m currently burning and duplicating Blu-ray’s. Using FCP, Matrox MAX in Compressor, Toast 10 Titanium, LaCie external BD Burner and duplication with a Microboards 5 drive tower.
My workflow is-
1- Export a reference movie of the edit from FCP with current settings. Wait ~3 minutes.
2- Open the resulting .mov in Compressor and add Matrox Blu-ray video and audio preset settings. Submit. Bask in the faster than real time glory that is MAX. (Happy to help with specific settings when the time comes, can’t remember off hand what I used before Matrox settings, but I vividly remember the ~16hr encode times).
3- Right-click the resulting h.264 and select “toast it” (both audio and video automatically import if they have matching names). Burn.
4- Toss the BD in the Dup tower and deliver copies to clients.
I’ve delivered 100+ BD’s like this without issue (well, except for the issue of initially figuring out the workflow). I sure wish Apple would release “BD Studio Pro” or something, I still author some SD projects, it’s just painful to release “play on insert” BD’s alongside the Authored down-converted DVD’s.
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Was this cross dissolve originally placed across two clips, then one clip was deleted or moved thus leaving the cross dissolve and other clip? Look closely, does deleting the transition cut half of it’s duration from the clip?
If so, when you delete the transition it looks like you are shortening the length of the clip, but it’s because the transition has compensated for the missing the handle from the previously deleted/moved clip (which keeps the location and duration intact). After deleting the transition, the the clip is still the same length as it was before the transition was applied.
To get the duration back after deleting the transition: With snap to edges on, place the playhead at the start/end (whichever applies) of the transition, delete the cross dissolve, and drag to trim the clip back to the playhead.