Greg Leslie
Forum Replies Created
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Your tape is probably labelled “DV,” which will hold an hour of camcorder footage recorded in that format. Laying out from FCP via firewire is actually recording DVCAM, which uses more of the tape and runs it a third faster than DV to get better quality.
Your best choice is to find a supplier of DVCAM tapes. A 1-hour DVCAM tape holds a one-hour layout.
They make longer DV tapes, but I believe the longest is 83 minutes, which is still less than an hour at DVCAM speeds.
best of luck,
Greg Leslie
Tulsa -
Actually, PPro will let you convert source clips from stereo to mono, mono to stereo, and get rid of unused channels. Alt-click the clip(s) you want to change and Modify -> Audio Channels.
You just have to do this before you edit the clip into the timeline.
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If I’m not mistaken, Boris Title 3D -does- have a type-on parameter.
Here’s a tutorial:
https://www.youtube.com/watch?v=juz2GSnhV9I&feature=player_embedded#!
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[Daniel Bernardoni] “(not sure how it works with HD, caption is in a different position)”
HD captioning is a whole different beast — it’s imbedded in the data stream, not visible information in the blanking. Can’t crop and key HD captioning like in the SD days…
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You’re not alone — I’ve had this audio blast hit me on jobs as well, on different systems. Usually when I’m VERY focused. I’ve never found out why.
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Does the scene have to be split-screen the entire time? Any way to cut to one of the speakers full-screen long enough to re-sync the other?
You might also play with varying the clip speed on the characters as they “listen,” to compress or extend their reaction timing. If they don’t move much it may not be noticeable.
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I agree with Scott that it may take several clips cut together, but you should also take a look at Title 3d (Video Generators -> Boris -> Title 3D), which has a lot of animatable properties, including “Text Type On.”
Greg Leslie
Tulsa -
The “Captain’s Blowout Fixer” filter takes a bit of experimentation to get good results, and you will probably need to apply it to a copy of the footage laid on a track above the original, then mask in only the parts most severely affected. Unfortunately, with most blown-out footage, there’s no easy fix.
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Here’s one way — go ahead and build one transition the way you want them all to be. Drag just the transition to the Favorites folder in the Effects tab, then right-click that transition and click “Set Default Transition.”
Then, in your timeline, select all the clips you want transitions between and hit Command-T.
It should work, whether they are multiclips or not.
best,
Greg Leslie
Tulsa -
And just today, Stu has posted a Colorista II tutorial on recovering blown-out highlights.
I have to put in another good word for CII — it’s an EXCELLENT way to get much of the functionality of COLOR without having to jump in and out of FCP.