Geoff Dills
Forum Replies Created
-
Exactly.
Best,
Geoff -
That is what I was doing. Changing the audio level achieved sync where lower level failed.
Best,
Geoff -
One thing you might do is make sure audio levels are loud enough. When I had issues, I raised the audio level on one of the cameras and that did the trick.
Best,
Geoff -
[Jordan Wilson] ” So I figured I would be able to select all the video clips and synchronize all the clips. Turns out you can only do one at a time. “
Maybe this can help:
Best,
Geoff -
While the joke didn’t offend me, it wasn’t funny at all to me. What’s funny about a camera operator with Parkinson’s? Enlighten me.
Meanwhile a colleague who produced some of the most interesting projects I’ve worked on kept his sense of humor while doctors drilled holes in his head to help him control his Parkinson’s:
https://mediastorm.com/publication/it-aint-television-its-brain-surgery
Ray kept his wicked sense of humor to the end. RIP friend.
Best,
Geoff -
Philip Hodgetts has written an excellent analysis of ColorSync here:
https://www.philiphodgetts.com/2011/09/fcp-x-color-management-secret/
“Conclusion
While it’s a significant change from traditional workflows, the approach taken by Apple with Final Cut Pro X is a better fit for what happens in edit bays outside the big studios, where the problem with early Final Cut Pro users wasn’t that they weren’t monitoring on calibrated broadcast monitors but that they were monitoring only on the computer display. How many times did I, and the other Final Cut Pro 1 pioneers have to remind people that the computer display is not an accurate representation of the video!Well, 2.2 gamma on OS X (since Snow Leopard) and ColorSync have made that advice not only null and void, but downright wrong. With a ColorSync workflow, the view on the computer monitor, particularly in full screen mode, will be more accurate than using a consumer television as a display, with the sole exception of interlaced video output. If you’re delivering for web, for LCD or plasma screen (i.e. all currently available displays) the display is progressive. Produce and edit accordingly.
I don’t think we have broadcast video output from Final Cut Pro X, because we have something better that accommodates todays colorspaces and will expand to accommodate whatever the future holds as well.”
Best,
Geoff -
I was only doing two cameras, HDV, full resolution, no proxy, without any playback problems. It was only trying to navigate the markers where it would not always respond to the command.
BTW, I liked the piece you put up the other day, and I liked your use of “cheese”, not too much, but enough for the attention-span-of-a-gnat eyballs audience you’re trying to connect to. Have you tried the earthquake transition yet? They were also kind enough to include the appropriate sound effects in the sound library.
Best,
Geoff -
If you are in the event library you can create a compound clip there and will be available like any regular clip. This was discussed in much detail in this forum.
Best,
Geoff -
Seems to be infinity and beyond. Took a generator clip and kept trimming right, could have gone forever I think. Timeline clock is just that, a 24 hour clock. When you get to 23 59 59 29 it goes to zero (adjust for frame rate :] )
Best,
Geoff -