Dylan Reeve
Forum Replies Created
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In many unix/linux variants there is a program called ‘fuser’ which will tell you the process that is using a specific file or fifo pipe (such as the /dev/tty-whatever serial interface) – but that doesn’t seem to exist in OS X, but I’m sure there’ll be something, perhaps an OS X support place might be the place to look.
I’m assuming this is OS X.
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[Chris Borjis] “It’s a necessary evil at times, but I avoid it at all costs.”
When I first encountered Avid’s effects methods, especially putting effects on ’empty’ tracks above vision I thought it was a little crazy, but for things like this it is so much simpler. I have a handful of effects that I need to apply to a whole section of the sequence (including uniformly to the graphics and other elements that make up the primary vision).
As far as I can tell in this case there seems to be some sort of maximum recursion limit or something, the effect on the highest track simply doesn’t get processed when that sequence is included in one more comp. It’s mental and really really annoying.
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Ahh, didn’t think to look at the filters. Good call, I’ll check that out.
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Compressed will make a Program Stream – although I have found that some applications don’t like it for some reason (Adobe Encore is one).
Under ‘Extras’ in the MPEG-2 settings, there is a checkbox for ‘Multiplexed MPEG-1/Layer 2 Audio’ – tick that and select ‘Program Stream’ and you get in the ball park.
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FHA might just be one of those weird BBC terms that seem to make their way into the industry outside the UK. Although that’s what we always tag our programs with on the ID Board – “Aspect: 16:9FHA”
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I had that problem with a serial adapter on the Mac, I went to the manufacturers website and upgraded the driver I think.
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Well, it’s shot 59 (as far as Color was concerned anyway) – it could be the 59th shot from the beginning, but I think Color counts a little differently sometimes.
Open up the Color project, look in the Shot list and it will show you what shot 59 is.
If you haven’t monkeyed with the sequence in Color too much it might be best to Send To FCP again from Color, assuming Color is still in touch with it’s renders.
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Most 16:9 devices will just put whatever pixels they see on the screen, so an anamorphic image will look right, but a 4:3 image will look short and fat.
DVD players step in the middle of this process by reading the format flag on the DVD and looking at the TV aspect setting you’ve provided, and doing whatever is necessary to make the format look right (so a 16:9 DVD on a 4:3 TV will be letterboxed for output by the DVD player).
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Also, if that’s the camera you plan to record straight to FCP with, I think you will be out of luck – it is a DVD handycam, which has no Firewire, and the USB port it does have will be no use for a live video stream. Also, what it does record (DVD Video) is really not a fantastic source media for editing.
I’d try and get another camera if I were you.
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That’s what 16:9FHA (Full Height Anamorphic) footage looks like on a 4:3 display – tall and skinny. On a 16:9 device (projector, widescreen TV, etc) it will look nice and wide. Some DV decks and cameras will actually convert the playback to suit a 4:3 display by letterboxing it, but that’s not common, and would be a menu option somewhere.
Don’t worry, you’ve done it right. Be sure to clearly label the tape as being 16:9 Anamorphic to make sure it’s handled properly.