Dylan Reeve
Forum Replies Created
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[Rafael Amador] “If you already have interlaced footage (1080i 50), what you want to interlace?”
It has originated on Varicam (at 720p25) but it played back from the deck as 1080i50. It is essentially 1080PsF25.
[Rafael Amador] “Those filters works in progressive footage that need to be interlaced.”
It is indeed progressive (although contained in an interlaced format). The plugins, before I render them, do as I expect and create what appears to be two distinct fields.
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You shouldn’t have to upgrade. Xpress Pro and Media Composer are essentially the same software. If you can make Xpress Pro work well enough, then MC should be fine too.
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The price probably isn’t bad.
What I’d like to see Apple do is look at some of the basic functionality of FCP… I still think they could do a whole lot better in terms of media management and basic capture and output stuff. To my mind, those are the area where Avid still kicks FCP around the park.
On my mostly-Avid part of the world those are by far the biggest criticisms of FCP from editors and post houses alike.
Avid has certainly not been the most responsive to the customer demands, but they claim they’re going to change… Time will tell I guess.
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Thanks Michael,
I’ll try something like that when I get to it.
In this case I will be able to get the offline editor to make some notes about where changes occur. So I should be able to narrow my search down somewhat.
I can’t help wondering if this is a process you could somewhat automate by processing the XML files from FCP. I may look into that too.
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I certainly understand the hell I’ve created for myself here, but to my mind this should be really simple and fundamental.
I only last week realised that I couldn’t relink based on Timecode and Reel to existing media. To my mind that’s almost a showstopper. I can’t believe it.
In this case we’re dealing with a show that is locked off, but the network reserves the right to make changes still. And we expect they might.
Sadly I can’t avoid this workflow in the future really – Avid is still the predominant NLE in this country (and will be the originating suite for almost every job we online). In most cases it won’t be a problem. But this will come up again.
I can relink against existing media in every other NLE I’ve used (and even used to have an app for determining differences in EDL for Linear online – wish I still had that, it might help).
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Most EDLs only support one video track.
Generally you export each track as a separate EDL.
Depending on why you are exporting the EDL it may also be important to collapse the edit down to as few tracks as possible (two or three is normally sufficient). If you were going to a linear online (people still do those) then having video on V1, that is covered by video on V2 that is covered by video on V3 is redundant, and will make things more complicated.
For most applications that require an EDL, you want the EDL to be as simple as possible.
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[Michael Aranyshev] “personally don’t want to see FCP interface turning into a loose collection of poorly integrated modules like Avid interface has become over the years. The effects tab in FCP can be torn apart from the Viewer and either left floating or docked to the timeline. What’s really needed is making it stay there you put it until you drag it back. The feature is there, it’s just not finished.”
I don’t find the Avid interface to be particularly poorly integrated… But that’s neither here nor there I guess.
It did occur to me that the effects tab could be torn free, but I assume it still won’t apply to a clip until it’s loaded in the Viewer? In which case it won’t make a lot of difference in my situation.
[Michael Aranyshev] “Again, feedback Apple was getting about media management in FCP all these years was “Fix the damn Media Mangler!” randomly popping up on the forums. It wasn’t “Make FCP able to reconnect based on Reel and TC metadata instead of file name and length” with a few dozens names signed below.”
Yeah… I suppose so. To me that sort of thing just seems like fundamental media management functionality. I still find the overall paradigm of media in FCP to be hugely clunky. Avid’s system, while it seems pretty difficult at first blush is actually really really solid. I think there is room for a middle ground for FCP.
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My best guess was it was something to do with format or something. In my case I was trying to edit XDCAM EX material to an DVCPRO HD deck – although I don’t see that FCP know’s the difference as it has no deck preferences or something.
Is there any difference in format between the footage for Ep 1 and the following Eps?
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My countdown clock varies. I make new ones when I get bored or have free time (not often now).
Generally it’s just simply numbers cutting every second from 30 (or 15) to 3, with a single frame flash of 2 (the 2-pip) and then 1 sec 24 frames of black. I haven’t delivered to BBC for a while, so my clock has no circle in it at the moment.
As for your commercials. It’s a toss up – in normal broadcast situations the channels don’t normally dissolve between commecials (although some do). They should be able to cut end to end. If that really doesn’t work then I guess you could put a 4 or 6 frame dip-to-black on the cut.
The mixed aspect could be a huge pain. Does the network broadcast 16:9 or 4:3? If they broadcast 16:9 you’ll need to ‘column’ your 4:3 material and leave the 16:9 ads as FHA. In FCP that’d probably mean making a 16:9 anamorphic timeline and taking the program sequence into it – should end up with black columns left and right.
If they broadcast 4:3, you’ll need to letterbox the ads.
Whatever you deliver, as it’s a single master for broadcast without breaks you’ll have to deliver a consistent aspect ratio throughout. If it’s 16:9 you’ll need to reformat program for that. If it’s 4:3 you’ll need to reformat ads for that.
Good luck.
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In my circumstance I have a sequence from Avid imported with Automatic Duck – so it brings trough various effect information with differing levels of accuracy. Part of the process I have to go through is going down the timeline and visually matching the parameters of the effects that haven’t translated accurately.
To do this I take a clip of the offline (exported from offline, or captured from a reference layback) and load it in the source viewer. I then gang the sequence and source viewers together and move along the timeline comparing the versions (in Avid this is made even easier by being able to hit ‘Esc’ to switch monitor focus and switch the output on the client monitor easily to compare).
When I find a clip that needs changing, I double click on the effect in the timeline to edit it, which brings it up in the source viewer. When I do that I lose the reference clip, and also the gang sync relationship.
I can load the reference in a separate viewer, but I can’t gang it to the sequence monitor without the source viewer also becoming ganged, which then breaks sync when I edit the effects in there.
As for the capturing – I will have to check the exact the circumstances, but in my experience it wasn’t recording the reel number (regardless of what was in the log window).