Dean Sensui
Forum Replies Created
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I cut and past entire one-hour shows without any problems.
Be careful about ripple edits. It’s possible to in advertently shift individual tracks rather than the all tracks of a sequence. I use “command-G” to close up gaps under certain circumstances. And other circumstances I’ll lasso groups of clips and move them.
Mostly I want to make sure I’m moving only the clips that I want to move and nothing else.
Otherwise, I haven’t experienced the problems you’ve faced. Certainly sounds like something is seriously corrupted. In which case it might be safer to start with a new project and not just a new sequence.
Dean Sensui — http://www.HawaiiGoesFishing.com
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If you can sit with an FCP editor that would be the best way. Then you could ask questions regarding Avid workflow concepts and see how they’re handled within FCP.
If not, then jumping in and doing a small time-insensitive project would be another way, and making good use of the online documentation. The books are huge and cumbersome.
Going to an FCP workshop is yet another. If you’ve already tried using the software then you’ll go in with a little background in advance and in this case a little knowledge can be a good thing.
Dean Sensui — http://www.HawaiiGoesFishing.com
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I’ve done this by creating Photoshop files measuring 540×4000 pixels.
— Add text with Photoshop’s text tool.
— Be sure to create an alpha channel to key out text if necessary.
— Use the “motion” tab in FCP to get the title screen to scroll at the right speed.If a single Photoshop file isn’t deep enough, then just add another and have it follow the first one upward.
I haven’t tried it in Live Type but I’d suspect it could probably do it.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Commotion has the ability to clone portions of previous or following frames. If the handheld shot is moving enough it might be possible to cover up the spot with cloned areas from nearby frames.
It would require tracking the spot.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Go to the “motion” tab of the viewer for that clip, set the clip’s size to 50 percent and move it over to one side of the viewing area.
Do the same for the second clip and move it over to the other side.
With clips sized at 50 percent you can see up to four clips simultaneously and use control-V to slice through the entire timeline at once, or select a clip and use control-V to slice through just that clip on the timeline.
Dean Sensui — http://www.HawaiiGoesFishing.com
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“Its reverb (repetition) of the PRIMARY audio… the same frequency that you WANT to KEEP.”
Some rooms reverberate at a particular frequency and cutting back at that point can help solve the problem. I’ve tried it and it can be of some help.
It’s not a cure-all, but it makes the problem less annoying and might make what’s being said a little more intelligible.
Sometimes it’s not possible to re-record and you just gotta go with what you got. Making use of the tools at hand is the best that can be done under certain circumstances.
Dean Sensui — http://www.HawaiiGoesFishing.com
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You can try using the 3-band equalizer filter to help get it under control.
The most offending part of the echo probably occurs in a particular frequency band, so one way to do this is to boost the midrange, then carefully sweep through different midrange frequencies until the echo gets to be at its MOST annoying level.
That’s the easiest way to identify the frequency of the echo or reverb. To fix it, keep the midrange frequency at that setting, then turn down the level for that frequency until the problem is less annoying. You won’t be able to get rid of the problem, but it might become less apparent. Keep in mind that you might also adversely affect the quality of the audio source as well. So it’s a tradeoff.
For future reference, always get the microphone as close as possible to the sound source. Use a lav mic or a cardioid mic. Shotgun mics will pick up a lot of ambient from the rear of the mic (most shotguns have a “bi-polar” pickup pattern) and aren’t as good at isolating a source as a cardioid in a closed room.
Dean Sensui — http://www.HawaiiGoesFishing.com
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You’re most welcome, Marek.
Glad to help out and to know that it worked out well.
Dean Sensui — http://www.HawaiiGoesFishing.com
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Here’s a very basic overview.
— Select clips for each camera angle.
— Find “slate” points and cut the clips there.
— Move clips to a bin. You can create a bin specifically for these clips if it makes it easier to organize.
— Highlight clips.
— Go to Modify dropdown menu and select Make Multiclip
— Select “Sync using in points”.
— Check “on” all clips.Your multiclip will then be created and can be found in the bin.
Drag this multiclip into a sequence.
— In Viewer: Show Multiclip Overlays; Show Source Angle Effects should both be “on.”
— Go to View dropdown menu — Playhead sync — Open
— Go to View dropdown menu — Multiclip Active Tracks — Video + Audio
— Go to View dropdown menu — External Video — All frames (not sure if this is essential)When you click on your sequence and hit the space bar, you should see all camera angles in the viewer playing simultaneously and the “program” or selected camera angle should be playing in the canvas as well.
To select a camera, just click on the angle in the viewer.
At the end your multiclip will be cut into their respective camera angles. You can go back and fine tune the cuts, too.
This is as far as I got. It’s enough to get started, tho.
Dean Sensui — http://www.HawaiiGoesFishing.com
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I’ve conducted tests similar to Steve’s and got similar results. The speed of striped SATA drives are nearly double that of solo drives.
Also, there’s a much lower chance of dropped frames when dealing with a large number of rapid cuts and rendered effects.
The seek heads of the drives have to find all these files and feed them rapidly — a single drive may not be able to keep pace with demand under certain circumstances.
Dean Sensui — http://www.HawaiiGoesFishing.com