Dylan Reeve
Forum Replies Created
-
As Michael said, the setting in MC and XpressPro can be found under the Grid settings in Avid’s settings tab. I use this particular setup a lot myself. The outer (action safe) lines in that setting are very close to 14:9 title safe, which is often handy too.
If you still have no luck, I have a set of PSD files I’ve created with all the BBC/EBU frame safety margins in them. framesizes.zip
-
You recognise the lovely Jaquie eh?
The stacked effects in the ‘TV Look’ are (from top down):
Sharpen
3-Way Color Corrector
Bad TV (adding some scanlines and a little noise)We’ve tried various things, but in the end it’s the Color Corrector that’s messing it up. Turning the others off and rendering only the Color effect and the levels are completely different between rendered and preview output.
I have tried stacking a Broadcast Safe on there, but it has a very noticable hard-clip on the highlights which. I miss the nice rolloff of the Courtyard Sheriff legaliser I used to use for SD programs.
We’re going to try rebuilding the effects a little to see if that improves it.
-
I can’t right now – but I will later today or tomorrow… Have a few other things I need to get out first.
-
We have a hardware scope as well which reflects pretty accurately what we’re seeing in those software scopes.
In previous episodes, using roughly the same effects setups (although not as extensively as this one) we haven’t observed anything like this.
The system is in use at the moment, so I can’t check exactly, but it is OS X 10.4.11, QT 7.4.1 (I think) and FCP 6.0.2
It is all ProRes422 HQ 1080p25 footage in a matching case.
-
I think I will try to rebuild the effects a little first, there are a few stacked up there.
If I’m not seeing an improvement there then I will try changing the sequence Codec.
[Chris Borjis] “Rendered output levels are often a little higher but nothing like that.”
See, that really worries me. Really? I expect what I see (at the very least with my playhead parked on a frame) to be exactly what I am going to get.
-
It is ProRes422 HQ in 10bit.
I did an export earlier and it took quite a while (rendering for output I believe) and came back with the same issues.
This is one episode of 6, and we haven’t seen anything like this on any of the other episodes at all.
-
I certainly agree, nesting can be good, although as I said I’ve found FCP’s implementation to be far from perfects.
You could also look into clip colouring, it’s something I’ve used to visually track segments and themes within a larger show.
-
Avid does not have anything like sequence nesting.
In six years of editing in Avid, I’ve never really needed it. You could do what you describe. Alternatively there’s the collapse tracks tool in Avid. You could collapse the source sequence and then edit it into the target sequence.
It doesn’t have the parenting that FCP’s nesting (usually) does.
The only reason I use nesting in FCP is for effects as we don’t have the ability to use effects in the same way as Avid where you can span an effect across many shots.
My problem with FCP’s nesting has been it’s inconsistency. If you have In/Out points marked in the source sequence when nesting, then it seems that the nested sequence no-longer holds it’s relationship to the original, but instead becomes a copy, but is only accessible by double-clicking the nest in the sequence you’ve nested it in.
-
Most EDL formats support basic motion effects – I haven’t tried in FCP, but I know simple speed effects make it through, I would assume the same should be true of FCP.
Even the early 90’s Accom controller I was using a few years ago could manage with speed effects (in conjunction with the three ‘realtime disc’ units, each capable of 30 seconds of video).
-
This is an omission on Sony’s part, for some reason… Avid only properly supports the MXF-wrapped files, and the Mac browser can’t make them. The simplest solution would see to be get a spare Windows computer to do the re-wrapping with, or use Bootcamp or a PC emulator on the Mac to run the Windows version.