James Hargreaves
Forum Replies Created
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Hi,
You don’t get auto focus on pro cameras with detachable lenses. (None that I have ever known anyway).
On the 700 you do get Focus Assist which is worth getting to know as focus on HD can be very unforgiving if you are slightly out.
JH
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Hi,
That seems to have done the trick. Many thanks.
Funny thing is that when I cranked it up first to 50% then to 100% nothing happened but when I dropped back to 25% (orginally 10%) it came good.
Thanks again.
James
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OK – I can now revise the previous time of 1 hour to go through 2 seconds DOWN to 3-5 minutes to process 1 second.
Before I had magnified the timeline right down so the nodes were spaced about 4mm apart visually.
This time I stopped at the first magnification increment that gave me the nodes. This enable me to whizz through and apply the repair filter much more quickly.
I forgot to mention also that the repair filter will only allow selection and repair of up to 125 samples at a time.
But hey – now we’re cooking!
First post prod color correction, then “smoothcam” – now this. Soon you won’t need any acquisition skills or discipline at all!!
Woo Hoo!
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I have just tried using Sourceforge Audacity to do this and I can report reasonable success.
I have seen someone working on ProTools round off clipped waveforms with the pen tool but I didn’t want to have to buy ProTools just to do that.
Audacity is a free download from:
https://audacity.sourceforge.net/download/
I did risk the Beta version and had no problems.
You need to export the sections of audio that need fixing as precisely as you can. Open it up in Audacity and then magnify the waveform until you see the sample nodes (dots on the waveform).
Be warned now that there are 1000 samples (or dots) per second.
When you scan through the waveform it appears that crackly distortion shows up as visible irregularities in the wave form.
Whilst it is possible to use the pen tool to manually adjust each node individually, I found it slighty quicker to (using the selection tool) select the irregularity (hump or spike) with a few samples either side and then apply the “repair” effect which will instantly, and very satisfyingly, iron out the irregularity before your eyes.
If you are used to Soundtrack Pro you will find Audacity clunky and awkward to use. I spent a lot of time trying to find the playhead on the timeline.
Some of that may be ignorance on my part and some of it may be down to Audacity being a free 7mb downloadable app.
It took me about an hour to go through 2 seconds worth of faulty audio. This may be because I was just getting the hang of it but at best it is pretty laborious.
But if you are stuck it does iron away the crackly distortion and gives you passable audio where before it was totally unacceptable.
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OK – Think I’ve found it. “EASY SETUP” wasn’t set to DV-PAL. Was set to CUSTOM SETTINGS for some strange reason.
Oh well – another hard lesson learned!
Good night!
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Hi Rich,
Well thanks for your help. Did as you suggested and we’re back in business.
And just to underline my point above I encoded the same clip in QTC with th esame settings and it was done in a time of 3’08”!!
So, that’s about 3x quicker than QTC on the DP2.0 and 10x quicker than Compressor 2 on the same machine.
So, with my faith in my new machine is pretty much restored, I think I’ll be flying QTC for a while yet.
Thanks.
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Most of the VFX templates are little more than Jumpbacks. I have yet to find any commercially available templates that compare to the ones that come with Motion2. The only thing wrong with those is that there are so few of them. You very quickly burn through the repertoire and you are soon left having to come up with something new.
Which is OK but when you are up against commercial timescales (ie it usually has to be done by yesterday) it’s not always possible to sit down and create.
I would be more than happy to pay good money for good templates that do my work for me. And that is to come up with imaginative ways of making still or moving images transition onto the screen, dance around the screen and then transition off.
Give me 1-2 minutes where all I have to do is drop my boring corporate footage into the placeholders, a reasonable spattering of garnish for good measure et voila – you got me sold.
You take my money, I take the glory and everybody’s happy!
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Well it’s a nice idea but I have to say these guys need to up their game a few notches because what is up there right now is pretty underwhelming.
But if they do come up with something worth splashing $10-$20 for then it woudl be great of they could do a PAL version.
Just my .02
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Hi Charles – Unfortunately I am encoding to bitrate not file size.
It’s driving me nuts. I’ve tried everything to fool it from mastering back to tape, recapturing and encoding – exporting as different filetypes (photo jpg, animation etc) and encoding.
What would make one movie encode so horribly under the same settings that encoded another one so sweetly?
Thanks.
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OK guys – fixed it. Sorry for the premature post. Simple export setting issue.