Fred Jean
Forum Replies Created
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[John Pale] “As an aside…personally, I prefer to import the image to the bin as the placeholder for the effect, not use filler. If you have ever had a bunch of images lose their links and go offline, you will see the wisdom in it…if you use filler, you pretty much have to rely on memory to rebuild what you did.”
I agree with that. Both bin import and filler have their own advantages.
If a lot of still images are involved, I’d use a bin import without the shade of a doubt because of what you just pointed.
But if it’s a matter of a few stills, I woundn’t bother me with that stage.
It was indeed a good point to precise. Bin import is the safest.Fred.
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Check for ex if by mistake you haven’t disabled “render on the fly”. (top menu-special). Check all your still parameters in PS. Try to make a “save as” in case file for some reason as been corrupted. etc…
Fred.
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Dan,
It should work. There is no reason and I’m sure it’s one of those stupid “mistakes” we sometimes do and are so obvious that we don’t see them.
I’m currently underpower and my Workstation would urgently need an upgrade, and I can work medium format and view cameras huge resos images without problems.
There is something that we don’t see, and I’m sure it’s a silly hidden thing.
Fred.
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I forgot to precise something.
When you use the effect directly on a filler, without the bin import stage, the way the effect will import the still is independant to your import settings.
Avid will fill the lengh or height with the image but without distortioned it.
I have for example imported Hasselblad images that have a very different aspect ratio tan HD and the Pan&Zoom importer will behave correctly regardless of your import settings. Wich is not the case on a bin import where we have to check the settings.
Of course, with a “squarish” aspect ratio, it will “loose” the upper and lower part of the img once loaded in HD as it centers it by default, but it’s not lost, if you zoom-back you see it.
Fred.
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Hi,
I’ve been working with 21000 pixels reso with Pan&Zoom and Avid eats that without problems (just a Little long to digest it, true)
Once it’s loaded, it Works on the timeline as normal and on real time. No blank screen but better render if it’s really huge.
You really don’t need the bin import stage. I’ve seen that it Works best with huge resolutions with the effect in a filler.
If your resolution is really high and you are on the limit, according to your Workstation, you may need to really leave the App a certain time after the loaded is done before you start to play with controls. I would say 30 sec, 1 min. Have a Little coffee break
then back to work.I’ve also noticed that it isn’t really about the pixel size of the image but the megabites when problems can occur. You can have for ex a huge drawing image in duotone that has less MB tan a complex colorfull smaller image.
Fred.
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I’d like to know too a faster way. But that’s the problema with not using timewrap.
Affecting the speed with motion effect from the source monitor is really a mixed bag. Straighforward but in the end, it creates new media.
If that would have been an effect, you could have batch delete the effect. But as those are new footage created within a portion of the original, if the people manipulates further the in-out points of the source clip, the reference is lost if they didn’t take the caution to sub-clipped.Fred.
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Sorry, I wrote “where the slowmo has been applied”, it was a speed-up, but it’s really the same. When your back to your source monitor, the in-out are previous to the motion-effect so they really are the portion at correct speed that was used for the effect creation.
Fred.
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Ok.
if they use this in the timeline with match frame, you shoud have an edit in your timeline where the slowmo has been applied (clip been replaced).
If the dudes haven’t made any further manips in the source clip, your in and out points should indeed be the normal footage before the motion effect being applied.
If everything’s fine, you need to extract the in-out portion of the timeline where the slow-mo was applied and split with your in-out of the source monitor at regular speed and make sure your tracks are sync. But the lengh of the timeline will obviously be affected.
I do not know a faster method. If someone knows, I’d read it with interest.
Fred.
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Sorry but I want to make sure I understood your question well because I’m french and got a doubt.
Do you need to keep the same lengh on the timeline?
Fred.
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Hi,
If they used the motion editor in the source windows, there will be no effect to remove.
You’d need to be in the source monitor and match back to the source clip.
Fred.