Enzo Tedeschi
Forum Replies Created
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I have been looking for one of these for FCP for some time.
There are more options if you have even limited AE knowledge, like the BadTV filter from The Foundry:
https://www.thefoundry.co.uk/pkg_plugins.aspx?ui=5DD2A940-1D4B-4884-AE22-3FCC03D7530A
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Sorry, I just re-read my post, it should read: Time Remap, not Stretch.
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For my two cents:
I always jump into AE for doing any slo-mo. Usuallt Time-Stretch. So much better in result. Even at weird rates it looks pretty good. Most NLEs struggle with odd rates (27%, 83%) instead of nice even ones (25%, 75%). You will not only get softness creep in, but also jerky playback.
I used AE for a 120sec retail TVC once that was running a fraction over, but we couldn’t trim anywhere. I ran it through AE at some weird speed (something like 101.2%). Indetectable. In FCP it was a nightmare!
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Cool. Well written!
Thinking back on it now, the differences I found were going in from an analog source, so, if I may, just say…. *duh*
:o)
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Jay,
I would probably do it pretty close to the way you are describing.
The downside to having longer clips would be that if you got a corrupt clip or something that require a redigitise, you’re going to have to redigitise longer clips. I find it easier to manage, though within the project.
Once you’ve got your source tapes captured, you can bring up your tape in the viewer, set an in and out point, and create a subclip by either dragging from the viewer to a bin, or pressing Apple+U (I’m pretty sure that’s the shortcut from memory). You can then rename, rearrange, and pretty much treat your subclip as a new master clip in most ways.
The only other thing on a project like this, is to offer a gentle reminder to put a reliable project backup mechanism into your workflow! :o)
Good luck!
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This creates a subclip that references back to your original source clip – it does not create new media, so don’t delete your orginal master clip!
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You know, Graeme, this one’s always puzzled me a bit. I know in theory it’s not recompressed, but I have seen PC DV suites using different DV codecs provide a better result than Apple DV codec.
Please enlighten me if there is something I’m missing, but it’s hard not to trust your own eyes…
And there’s also a favourite quote of mine:
“In theory there is no difference between theory and practice. In practice there is.”
:o)
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If they’re grainy after they’ve gone in, they’ll be grainy coming out.
It may be compression. It tends to show up more in darker footage when you’re working in DV. It’s never hugely drastic, though…
Can you post a still frame of your “graininess”?
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Andrew,
It sounds like your clips don’t have enough “handles”, or extra footage to accomodate the dissolve.
If you want, say, a 30 frame dissolve centered between two clips, then you will need 15 frames of both clips on either side of the cut. If you butt two clips together where the first one ends at the last frame of the clip and the next starts at the first frame, you won’t be able to dissolve between them ’cause there’s no overlap.
Hope that makes sense? Probably as clear as mud…. :o)
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I had a problem recently with a badly encoded wmv that I needed to get into FCP for a cutdown (would work the same for AFX):
After trying every combination of converters and encoders available to me, I ended up using the file to burn a VCD (gasp!) on my PC using Nero, and then fed that into the suite.
Doesn’t help if you’ve only got a Mac, but handy to know.
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All the Nattress plugins are awesome. Very high quality for a great price. Give them a go.
Keep up the good work, Graeme!
Are you still taking suggestions for new filters?
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