Enzo Tedeschi
Forum Replies Created
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Oops.
Apologies to Squared 5.
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Your best bet is to convert the m2v to mov files. Try using MPEG Streamclip from Apple. It works well, and best of all, it’s free!
https://www.apple.com/downloads/macosx/video/mpegstreamclip.html
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I know.
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You should be able to use other formats for encoding, also – when you say “video for windows” – AVI or wmv? The latter will help filesize. You can also use MPEG1 in Powerpoint quite happily.
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Good point, David. I liked your HDV test article on the COW, by the way. Nice one.
And for the record, Command+L will unlink your selected clips audio from the video, alowing you to slip, delete (from timeline) or replace it easily. The easiest way to find your audio again is probably to do a matchframe (F key) on your clip in the timeline.
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If you mean the little “pop” that occurs during the transition, it’s most likely FCP’s realtime. You might even notice some softness creep in.
Try rendering out your timeline before previewing. Should play fine.
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Secondary internal or external Media drives are smart, if not essential.
You’ve got heaps of space on your System drive, but you can end up choking it – you’ll be amazed how quickly you’ll run out of space.
Hard drives can perform slower when they are more full, and in addition, even worse when they are fragmented. Add to that the fact that your iMac’s OS resides on it, and may need to be accessed at any time, and all of a sudden you have a three-pronged potential drain on your HD while you are capturing and playing back. This can result in dropped frames. These can be painful when playing back, but even worse when you need to abort a capture and start it again.
In short – you can work in DV from your system drive, but it isn’t recommended. If at all possible, use a different drive for your media.
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It’s a pleasure, mate.
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Hey guys,
I’m not sure why everyone assumed I’d be capturing unnamed clips! Yeesh – what a nightmare that would be!!
I usually at least log by Tape Name, but usually feed in the tapes in a couple of shorter clips, much like is being described. A for skipping a subclip, EVERYTHING should be subclipped, not just stuff you like, and your camera master clips safely tucked away in a folder somewhere. Usually on a big project you’d probably have an assistant editor prepare this (budget allowing). A good one won’t miss anything.
I will qualify that by saying, though, that I usually work on short form projects, so I don’t really have to deal with dozens of tapes. A Word to the wise would echo David’s sentiment – as much as possible take the advice of people who have been through it all before.
If you are really concerned about your tapes, and you are seeing dropouts, it might be worth taking them to a dubbing house and getting some working copies made from your originals? I know you said budget is an issue, but budget or no budget, you’ve got no documentary without your footage!
And just to clarify David’s comment about sequence settings: you need to make sure that the sequence you are cutting into has the same video format settings (codec etc) that your clips do. Your evil red render bar will magically disappear.
Even if you used different capture settings to David’s, you’ll still be able to play in realtime from a sequence if your settings match. -
It’s always tricky to get this across without showing it visually.
Give this a go, Andrew:
Take the clip you want to dissolve into, and put it upon to the second vision track, then slide it back so that it overlaps with the previous clip by a second.
Now if you put a dissolve at the head of that clip, starting your in point, you’ll see it will work happily. Hopefully that might illustrate a little more visually what we are trying to say?
Hopefully…?
e.