Don Greening
Forum Replies Created
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[Chris Poisson] “Compressor, Squeeze and Compression Master all seem to want to lower the gamma and increase the chroma and/or saturation.”
You might find the info at the following link interesting:
https://www.visiontracks.com/compressortests/
– Don
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Hi Skip,
I think what I’m going to continue to do (until someone offers a better way) is to bring the video and audio tracks from all the camera sources into the timeline just like we always did. Sync them up until the “echo” is gone, then make a sync’d multiclip and drag that into the same timeline so it is also sync’d up to the other duplicate tracks. Then mute just the audio from the multiclip so you’re not doubling up on the volume. Since the muticlip video is on top of the other individual video tracks you won’t need to worry about cutting them, but they’re in place just in case. I’ve been doing this with a muticamera edit and so far it seems to be the best way to have your cake and eat it too.
When it’s time to export from FCP I export the audio separately anyway, so I can make a final decision then about which audio tracks I’ll include in the export.
– Don
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The smaller the imaging chips the tougher it is to achieve a shallow DOF. With the GL2 you’ll need to open up the iris as wide as possible (lower F stop number). Use the camera’s built in ND filter to conrol the amount of light coming in when the iris is wide open. If it’s not anough you’ll need to screw another one on to the front of the lens, such as when you’re shooting outside on a sunny day.
Then you need to create as much distance as possible between the GL2 and the subject you’re focusing on. Stand farther away and zoom in, the more zoom the better. Also try to keep as much distance as possible between the subject and the background. After doing all that the DOF will become more shallow and the background should go out of focus.
– Don
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Hi Greg,
First off, let me point out that I’m a Mac user and not a Windows person, so I can’t give advice from a PC perspective. What I do know is that it’s generally accepted that your camera should be on a separate firewire BUS from the hard drive your capturing to. For myself, my computer comes with FW400 and 800 but they both share the same BUS. That’s where I plug my camera/deck into. I also have a FW PCI card that all my FW hard drives are plugged into. That’s a separate FW BUS. Works like a charm. In a pinch I have connected my deck into the back of one if my FW drives for capturing purposes and it has worked, but it’s not recommended to do that on a regular basis.
I’ve also heard about the odd problem in the past using Canon cameras as a deck connected to computers and have never heard whether or not the problems were resolved. Might I also recommend that you purchace an inexpensive one chip camcorder for use as a deck instead of wearing out the tape transport of your expensive XL2 by using it for capture purposes. Virtually any mini-dv camcorder with a firewire port will do. People use this method all the time and there will be no loss in video quality during the capture process.
– Don
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Derek,
You’d probably have much better luck in getting your question answered if you posted this in the FCP Forum.
– Don
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[garyl] “should i still shoot in frame mode or should i use normal.”
If it was me I’d shoot clean (normal interlaced mode) and do any effects in post. That way if you don’t like the look of the applied effect in post you can always hit “undo” and try something else.
The other reason to shoot interlaced is that a certain amount of resolution is lost in frame mode because the two fields are combined in-camera before the picture is recorded to tape, which is quite different from true progressive mode such as the XL2.
If you already own programs like Magic Bullet or Cinelook then by all means use those with your NLE to achieve the look you want. If you don’t have them yet, and also own a Mac may I suggest looking at the film effects plugins from http://www.nattress.com. Graeme’s plugins are very inexpensive and are world-class. From his ‘smart’ deinterlace plugin to a ton of film effects his website is well worth a look.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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[Zeliha] “but when I go to simulator there is nothing to play.”
That’s because you haven’t connected your track to anything yet, so the simulator won’t work. Just double-click your track and that should activate the viewer window and start playing your movie without using the Simulator mode.
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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As Jerry has pointed out, instead of trying to access your media from the palette tabs, go to the file menu and choose: Import>Asset. Navigate to the folder where your media files are and import them. The imported media will now appear in the assets tab in the lower left side of the DVDSP screen.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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[reel2reel] “This multiclip stuff is pretty powerful stuff, really. “
Agreed, which is why I hope to get the hang of it real soon. This Sunday I have a 3 camera shoot to do at a concert and I hope to be proficient enough with muticlip editing by then so I can make fast work of the upcoming edit.
Thanks for your post, btw.
– Don
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reel2reel,
You’ll notice that once you’ve loaded your multiclip into the viewer that the active video track has a blue border and the active audio track has a green one. Before you start to cut just make sure that you have FCP set up to just cut the video and not the audio, otherwise you’ll cut to the active video track’s audio each time, which is what I understand you don’t want to do. Page 280 in volume II will explain this better than I.
– Don