[Declan Smith]

It depends on the clip as to what method you would need to employ. Such as whether there is camera movement, does the light change etc etc. I would normally tackle this in something like After Effects, BUT, if you have a suitable ‘patch’ clip and the lighting is the same and there is no movement, then I would suggest using the TextTool to create a feathered mask over the ‘patch’ clip to select exactly what you need and put this on a higher clip in the timeline than the original.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

You’ll have to do some kind of look. You didn’t specify the source of your numbers and what you want to countdown (limits etc), so the example I have given below makes some assumptions.

Add this expression to a text source object and add a slider to the text layer. The slider in this case is the source of numbers. So in your question, if the slider is set to 5.59, the text source will read “five fifty nine”. The way it’s written below will allow for up to 99.99 (which would read “ninety nine ninety nine”). Also note that 1.05 will read “one zero five”

Hopefully there is enough below to give you a starting point.


nums = ['zero','one','two','three','four','five','six','seven','eight','nine'];
teens = ['ten','eleven','twelve','thriteen','fourteen','fifteen','sixteen','seventeen','eighteen','nineteen'];
tens = ['null','null','twenty','thirty','forty','fifty','sixty','seventy','eighty','ninety'];

function numberToText(number) {
numStr="Err"
if (number < 10) {
numStr = nums[number];
} else if (number <20) {
number-=10;
numStr = teens[number];
} else {
tensIndex = parseInt(number/10);
numsIndex= number % 10;
if (numsIndex == 0) {
numStr = tens[tensIndex] ;
} else {
numStr = tens[tensIndex] + " " + nums[numsIndex];
}
}

return numStr;
}
rawnumber= effect("Slider Control")("Slider");
num1 = parseInt(effect("Slider Control")("Slider"));
num2 = '';
num3 = parseInt((rawnumber-num1) * 100);
if (num3 < 10) {
num2="zero ";
}
numberToText(num1) + " " + num2 + numberToText(num3)

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

Have you tried adding a refine matte effect with chatter enabled and altered the smoothing ? I have had good results stabilising mattes using this. Also It may be that your keying is on the edge. I would suggest using the status of key light and alter screen gain / balance to suit to ensure you have a solid key.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

Trim your clip as you have been doing, then pre-compose it. You should be able to retime the precomposed clip as desired as its start / end will be as you selected on the original clip.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

The highest OS I have with FCP is Mountain Lion, but I think it’s just the way Canon have ‘filed’ their software. I see no reason why it wouldn’t work with Mavericks.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

It;s not obvious but it is there

https://www.usa.canon.com/cusa/support/consumer/eos_slr_camera_systems/eos_digital_slr_cameras/eos_7d#DriversAndSoftware

Select Snow Leopard as the operating system then it’s there under Software

EOS MOVIE Plugin-E1 for Final Cut Pro 1.6 09/29/14
File Name: CE1160X.dmg.zip

This plugin application is for Final Cut Pro, which was released for users of EOS DIGITAL and Final Cut Pro. This plugin allows you to use the Log and Transfer function to edit movies captured with the EOS cameras.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

Below is an example of how to use parseInt to take a text layer (called MyTextLayer) source property as the input.

Note that this will only work as is if the source text is entirely a number.

parseInt(thisComp.layer("MyTextLayer").text.sourceText)

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

With any backup system you should have 3 copies. For this scenario I would have the media at work on drive (let’s call it A), at home another drive (B), then have a transit drive (C).
When at work, I would work on drive A, then mirror it to drive C before I leave. At home I would mirror C to B and then work on Drive B. Then, before returning to work, mirror B to C. On arrival at work, mirror C to A. At each stage this gives a way forward and back. At the point of moving from one location to another, you end up with three copies of your project.

This may seem a little overkill at first, but maintains integrity of your media and ensures that you always have backups. If the transit drive dies, replace it and re-mirror it to your last updated copy. External storage is cheap and faster than the cloud.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

I’m surprised there is a lack of response to this question as creating masters is fundamental, unless of course you have more storage than video files!

Other than setting lower resolutions and bit depth (and foregoing sub-sampling) I don’t think there is a way of getting smaller files with DNxHD.

With regards to creating masters, I have faced a similar issue in that I normally master in ProRes, but due storage limitations, I would prefer to store archived masters in another format so as to retain the highest quality possible with smaller file sizes and better cross platform compatibility. I have done some looking into this and there are a number of formats used for broadcast, of which support 4:2:2 sub-sampling. I share below an example of some tests I have done as a comparison use Adobe Media Encoder. These are based on a HD 1920×1080 25p source project which is 3m27s.

PhotoJPEG (4:2:2): 5.6Gb
ProRes (4:2:2): 2.7Gb
DNxHD (4:2:2): 4.4Gb

MPEG-2 (4:2:2 50Mbps): 1.2Gb
MPEG-2 (4:2:2 30Mbps): 770Mb
XDCAM (4:2:2 50Mbps): 746Mb

Normally, I would walk away from MPEG-2, but at 4:2:2 and 50Mbps, I must admit it’s visibly hard to tell any difference between the results, but I have not compared post work on the new master files (for example, pulling keys or colour grading). XDCAM is a specification I have seen as a standard broadcast mastering codec (also MPEG-2 based).

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”

[Declan Smith]

When you say “COLOR IS NOT DEAD” is that based on some new information ? or just a comment that it still works functionally ???

I have just got my 2009 MacPro 4.1 back from an upgrade of processors,memory, graphics card and SSDs. It’s extremely fast, in fact within about 2% of the equivalent brand new MacPro but for a heck of a lot less money!!. Render times are at least half what they were.

Declan Smith
https://www.madpanic.tv
After Effects CS6/ FCS3 / Canon XLH1 / Canon 7D / Reason / Cubase

“it’s either binary or it’s not”