[David Mcsween]

Thanks Tom, Aunty has purchased 2 edit solutions (Grass Valley and Apple) to go with P2.

For anything other than the News and 7.30 Report (I think) we are using FCP exclusively. So we are making, in some cases, documentarys with P2 (which is great but) with the tight turn arounds of weekly episodic TV.

The platform is not negotiable.

I wondered if it is possible to make all the clips I want from a P2 card become “spanning clips”. Then FCP would see all the individual elements as one.

The reason for this is the tight turn around times I mentioned above. As a work practice it is much easier/quicker to scrub a single long clip (or search via TC) ratjher than scroll up and down through a bin or even a number of categorised bins.

Cheers D

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Thanks, apparently Grass Valley’s Aurora edit system can infact import all the clips as a continuous piece.
I just wonder how you effectively search, based on Timecode, through a bunch of clips in a Bin?

we don’t have the time to log clips with different names all the time, and I thought that the camera breaks up the continuous recordings anyway (not just at button on/off) even after a reframe for example.

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

However I dont want to use the compiled sequence (nest) to cut from, You can have match frame problems and nest errors, where FCP cant work out the location of the original. And Adding effects based on reel is more fiddly than doing it to a single clip (ie. puting the effect on the contents of the nest rather than the nest itself. I guess though you could edit with the Overwrite Alt key, the one that breaks the clips out of the nest but how do you search timecode if there is Time Of Day TC in the nest. The Nest wont reflect that on a simple TC search will it?

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Can you run another identical shatter effect on a different layer but this time use a solid that changes from black to white over the shatter period. Use this (hidden of course) to affect the value of a compound blur on the original shattered layer.

That way the elements would start sharp and change with time (but this would be the same as an overall blur, hmmm), you could then develop a shatter map from the first few frames (where you can see the bits that are broken up) freeze it and use that for the compound blur layer instead of a solid, alter the brightness values of the different pieces so that they blur at different speeds.
Good luck

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Can you run another identical shatter effect on a different layer but this time use a solid that changes from black to white over the shatter period. Use this (hidden of course) to affect the value of a compound blur on the original shattered layer.

That way the elements would start sharp and change with time (but this would be the same as an overall blur, hmmm), you could then develop a shatter map from the first few frames (where you can see the bits that are broken up) freeze it and use that for the compound blur layer instead of a solid, alter the brightness values of the different pieces so that they blur at different speeds.
Good luck

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Thanks for these usefull tips. I ended up putting on the circle mask and losing the graticule in the middle. The producer got me to slow down the movement but those gross reframes are what the real microscope stuff looks like. So i scaled the artwork up to fill the eyepiece but retained the move speed, this made it look like it wasn’t moving so far.

I got scared off the blur and left it out, i will try to perfect it on my own time.

d

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Yes all the settings are for video levels and AE is seeing it as an Avid QT file. It may be a bug with the PAL version of the pluggin, another fault is not formating for widescreen properly when it is selected as an output type (you get a letterboxed version).

Also I have recently noticed that the AE 6.5 ‘DV OMF export’ doesn’t support PAL 4:2:0 rather 4:1:1 which probably gets contracted to 4:1:0 in PAL Avid. And I can’t get the Avid DV (standalone) codec to export a recognisable file for Avid. It just appears in the Avid as a grey screen, even though it imports as a supported QT file.
Go figure!

Cheers David

[David Mcsween]

Was it just me that was annoyed by all the cutting TO words. eg. CUT TO ANAKIN : Why? CUT TO OBI WAN : Beacause Master Yoda says so. CUT BACK TO ANAKIN : It’s not fair. etc…

No splits to speak of at all therefore no reax to other dialogue, could the on set direction be that far out that the timing was up the creek (it would have to be the creek on the Wookie planet, no doubt, it seems that’s all the place was good for).

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

Wow Andrew, what a cool resource! Isn’t it nice to know that other people are endagering their lives in the pursuit of our art?

The DV doesn’t worry me too much, it just means more carefull keying.

Cheers

David Mcsween
Editor ABC Brisbane, Australia

[David Mcsween]

You know what I liked about old style filmaking, the budget restricted you to telling the story efficiently without hundreds(!) of locations. I swear that the this movie raced around locations faster than any day time soapie ever dares to.

Cheers

David Mcsween
Editor ABC Brisbane, Australia