[Glenn Sakatch]

I fought with this last night…I think we are all doing the same tests at the same time.

Solution was the monitoring was set to size picture. You have to set it to fill screen with crop (or something like that…im not at the box right now)

Flipped that on and the window was where it should be.
Didn’t even notice I wasn’t looking at my whole picture.

Glenn

[Glenn Sakatch]

Something for me to work on tonight…if i can tear myself away from the start of the hockey season.

Glenn

[Glenn Sakatch]

Thanks guys, I’ll try those ideas tonight.

Glenn

[Glenn Sakatch]

we didn’t do any major tweaks to the basic settings.

Are you talking about a difference in the original movie vs a prores 422, or a difference between compressor output and streamclip out put.

There is a difference from the h264 movie, but I assumed it is unpacking something, and giving me the raw file settings upon import. I color corrected my piece in a DS and it looks amazing.

as far as streamclip vs compressor:
We did 1 file on both systems and checked them against each other, and couldn’t see a difference.
your other option is to import the files straight and render your timeline. H264 is a pain to work with though.

[Glenn Sakatch]

I’ve just done two jobs with this camera.

We tried using compressor, but with over 2 hours worth of footage, and a client breathing down my back, I switched to mpeg streamclip.

Did a batch list conversion to prores 422, and imported those into final cut.

Mpeg streamclip did approx 5 or 6 clips for every 1 clip that compressor did.

[Glenn Sakatch]

Be sure to export a xml version 4 list, not version 5.

[Glenn Sakatch]

the dpi is typical 72
clicking the fixed resolution doesn’t do anything to the file.
The files are output from an animation program, and are single layers with a transparency

[Glenn Sakatch]

Interesting, You are correct, I open a file in photoshop, and save it as a psd and motion doesn’t have a problem. I am so used to exporting tif sequences from the animation programs…but I see it will do psd and psd layered. Guess I’ll have to change my workflow

Thanks

[Glenn Sakatch]

Thanks for the idea. My camera records to hard drive, but I figured out the opposite works. I recorded to hard drive, through the camera I copied to an 8 gig SD card. Copied the SD “private” folder to my Mac in a folder labeled according to the event. Log and transfer reads this folder just fine. I guess the cameras internal copy program is recreating the folder structure as it copies the files across. Its one more step (copying to SD Card) but allows me to not have to empty the camera between each shoot, and allows a backup of native format that log and transfer can read.

[Glenn Sakatch]

Pedro, the idea they are trying to tell you is to build a timeline with a different layer for each photo.
6 photos = 6 layers. Your final timeline would start out looking like a staircase, where layer 1’s content ends, layer 2’s contents start, and so on. Then if you want to swap 2 and 6, you simply drag 2s content down its section to where 6 starts, and you drag 6’s content the other way to where 2 used to start.

I would also suggest playing with drop zones. Depending your your layout, a different drop zone for each photo can be easily changed from 1 photo to another.

You could also go into your media managment tab, and call up photo 2, and tell the program to use the file for photo 6 here instead.

Hope this helps.