Gunner Jones
Forum Replies Created
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ND,
Sounds like you have FX in your sequence, right? Otherwise you would not get the “blurry” problem.First of all, you probably are not rendering properly nor are you monitoring your rendered effects properly.
First read this:
https://www.kenstone.net/fcp_homepage/rendering_rt_fcp_4_balis.html
What should you learn from that article?
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You can also animate the Anchor Point.
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Fernando,
First of all, you probably are not rendering properly nor are you monitoring your rendered effects properly.
First read this:
https://www.kenstone.net/fcp_homepage/rendering_rt_fcp_4_balis.html
What should you learn from that article?
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Hook up your speakers to the DV Deck or DV Camcorder not the Mac. Set up a video monitor out of the deck while you’re at it.
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Stay away from USB 2 as well.
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I don’t believe the DSR25 has timecode presets. The DSR45 does though. You should rent a 45 for a day and prestripe a few cases. That should get you by. A PD 150 also can do this for you.
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A clip’s originally logged duration seems to rule the clip, which is, dare I say, buggy behavior. The duration shouldn’t force the changed clip to remain the same length. You usually want it to be a different length, actually. Usually this happens when you are logging on the fly and you catch something good after your originally set Out point. You want to set a new TC number in the Browser for the Out Point. When you do, it screws up your In Point and re-calculates it due to the original duration.
The duration of the clip should be calculated after the newly placed edit point is set.
I believe that this has never really worked right. Here’s what I do as a workaround:
I just memorize the TC Out point, enter the new In point and then re-enter the Out after setting the new In. That seems to work.G.
O&O-Gunner Productions
FCP-Avid-After Effects -
Dave,
You are not doing anything wrong. I am seeing the same thing. This is a repeatable behavior in Unlimited RT using Dynamic quality. This is also only a preview, fortunately. You’ll find that once you render at High Quality and set to Safe RT, you’ll no longer experience this cut to black with transitions. Try that and report back.Dynamic Quality is a new animal, so certain actions may pop up at us. I guess a common thing to check first is if the media plays back with the effect when rendered at high quality.
Gunner
O&O-Gunner Productions
FCP-Avid-After Effects -
Indeed Nevo, you are correct. At NAB, I noticed that indeed the scaling had been drastically improved in FCP. Thank GOD! I’m really glad about that so I don’t have to go to AE or RED to do my scaling/masking FX as often. However, most confusion about quality can be more easily ascertained with a proper FCP System setup.
O&O-Gunner Productions
FCP-Avid-After Effects -
I bet it looks OK. Actually, this is a common misunderstanding.
You are simply not checking the high quality viewing option in QT. In QT, type CMD + J. And then enable High Quality in that dialog.
FYI, even if you are doing web video, working with a video monitor is actually helpful. FCP is more like a system than an app, if you see my point. If you had a video monitor hooked up, you would’ve seen that the edges are much smoother in reality because the video monitor will display the QT at High Quality (with the Timeline set to Safe RT). So it gives you more confidence and security knowing the actual quality of your project as you work, not after you export to QT and check the High Quality checkbox, or encode to DVD.
A properly set up FCP workstation provides a stable base to work from no matter the destination of your media: to tape, to DVD, to the web, and continually on mobile devices with the advent of H.264. With a properly set up system, what you see is what you get. The Canvas, unfortuantely, will not show you the final quality of your show.
With FCP 5, I have heard that scaling and dynamic preview in the Canvas brings you much closer to the actual resolution of your output (in your case, web video), but if you want to stick with FCP HD–the best thing you can do is connect a video monitor (or even a TV) to your DV Deck or DV Camcorder. Your speakers should be connected there as well. See the manual if you need a diagram.
Good luck to you and let us know if your quality was acceptable — given that you are working with DV’s 5:1 compression.
G.
O&O-Gunner Productions
FCP-Avid-After Effects