Dean Sensui
Forum Replies Created
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[mcvideo] “I understand the 1400′ width (is what matters) but what about its height?”
You can just let the height change automatically in proportion to the width.
Be aware, however, that if you have a vertical picture that height might end up being quite large.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Cut the clips into segments, based on exposure/color changes.
Set one clip up the way you want it to look.
Then adjust each clip to match the optimized clip.
Drop dissolves between the clips to transition from one to the next. Adjust the transitions to make it seamless if necessary.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Have your client give them to you at 2000 to 2500 pixels across. PPI doesn’t matter until you actually output to a printer and at that point you will need to know what type of press or printer and its specific resolution requirements (I was a prepress expert for a publication in my former life).
Best file format for source scans is TIFF with LZW compression. Set up Photoshop with Adobe RGB as its working color space to help ensure the image can be applied toward broad range of potential applications.
Always work on copies of your originals. Preserve your originals just in case you need to go back to them or need to repurpose the images for posters, postcards, DVD case graphics, etc.
Resize in Photoshop to about 1400 pixels across. That should handle almost any moves in FCP. Too big and you’ll just tax your system unnecessarily.
Do all your major color corrections, screen removal and retouching in Photoshop.
Use PICT format for export to FCP.
Dean Sensui — http://www.HawaiiGoesFishing.com
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I don’t know about anyone else, but I don’t see anything wrong with good old acetate and rub-on letters. It’s worked for me since 1978! 🙂
Dean Sensui — http://www.HawaiiGoesFishing.com
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[Jeffrey] “What should i look out for when setting up the timeline and using nested timelines”
Without having duplicated you problem here, I would have to guess that it’s something to do with your widescreen filter. There’s probably some attribute or paramter like opacity or something that you may have inadvertently changed which causes your video to lose the proper black level. Check to see if your settings for that filter are at the proper “default” levels first.
It’s not the nested sequences or the layered video as all of that works just fine prior to adding the widescreen effect.
Dean Sensui — http://www.HawaiiGoesFishing.com
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[Jeffrey] “Is there a way to change the black level of captured dv material or change it at any point.”
Don’t try to change the black level of the material to fix it as you’ll just be adding to the complexity of the problem.
Instead, it has something to do with the way you’ve set up your timeline and the widescreen filter or matte. I’m not really clear on your setup as your description is somewhat confused. But it sounds like you have a nested sequence? You have copies of the same video on tracks 1 and 2 overlapping each other?
Dean Sensui — http://www.HawaiiGoesFishing.com
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[Jeffrey] ”
When i add a a widescreen matte to a clip it show not as black but as gray.”Jeffrey…
When you said you added a widescreen matte, how did you do it? It sounds like you used a file that has an alpha channel in it to create the letterbox. However, if the “hole” in the middle of that alpha channel isn’t perfectly white (RGB 255), and the black areas aren’t perfectly black (RGB 0) then you’ll end up with the symptoms you’re describing.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Soundtrack has the ability to change tempo and maintain pitch. However, speed changes will sometimes adversely affect the feel of the music even if the pitch is perfectly preserved.
Dean Sensui — http://www.HawaiiGoesFishing.com
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[raju] “PLEASE LET ME KNOW. I want to avoid the “reconnect” process.
thanks”You can avoid the reconnect process only if you media manage to a specific drive and then use that specific drive — or a drive with the same name — to move the media to a new system. Otherwise FCP will not know where the media is.
The good news is that when you reconnect, you have the option of letting FCP connect to all the other files if they’re in the same relative location. You won’t have to reconnect to a hundred other files individually.
You can media manage to a specified folder and move that folder. That’s what media manager is for. But, again, you have to maintain the same file path if you want to avoid having to reconnect all the time.
That’s a good reason to have collaborators share the same naming conventions when it comes to scratch drives.
Dean Sensui — http://www.HawaiiGoesFishing.com
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[christopher wright] “No timeline scrolling and no decent title app within FCP.”
FCP Studio comes with Livetype and Motion. That’s about as good as it gets short of using After Effects.
Dean Sensui — http://www.HawaiiGoesFishing.com