Jamie Pickell
Forum Replies Created
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Jason,
To quickly find the clips – right-click on an offline clip and select the first option from item properties. This will tell you where the clip last lived when it was connected to your machine. It will also tell you the actual file name of the clip.
Hope this helps,
Jamie
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This season of my show is in HD and I have been creating my titles and lower thirds to stay within 4×3 title safe. This is because the show will be repackaged for international distribution and the titles will need to be within 14×9 title safe which is essentially 4×3. I downloaded Andy Mees (sp?) title safe generator to make sure my titles were safe. (You can search the Cow to find it the link.) I highly recommend you check with your client as to what they want for title safe.
Jamie
OS 10.5.5
Quad Core 3.2
8GB RAM
FCP 6.0.4
Kona 3
XRaid -
Check out Traffic from XMEDIT
https://www.xmedit.com/I remember looking at their demo a couple of years ago and they showed how to use their software to change bumpers and slates on 50+ sequences all through XML.
Jamie
OS 10.5.5
Kona 3
Quad Core 3.2
8GB Ram
FCP 6.0.4
XRaid -
Scott,
Put your animation clip on video layer 2 or 3, then put your alpha channel clip on the layer below it, make sure they are in sync. Right-click on the animation clip and under composite mode select Travel Matte Luma. Your animation clip will read the luminance (i.e. the white to gray areas of your alpha clip) so that the animation can reveal video playing underneath.
Jamie
OS 10.5.5
FCP 6.04
Quad Core 3.2GHz
8GB RAM
XRaid
Kona 3 -
Want to throw in one quirky bit of information that might be attributing to your losing sync. By any chance were the audio files posted on an FTP server and then downloaded to your machine? If so, have your mixer ZIP the files and then re-post them to the FTP server. I saw this exact same thing happen on a show my friend was cutting. The audio starting slipping out of sync. We tried all sorts of things, but to no avail. We had the mixer repost the files, but this time he ZIPped them before posting. Downloaded, unzipped, problem gone. The mixer didn’t do anything different to the files, just Zipped them and posted. This is also recommended when sharing FCP project files via FTP, ZIP the file then post.
Jamie
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Jeremy,
My production team uses Vivid Productions out of Nairobi. They’ve got great shooters. Their website is: https://www.vivid-africa.com
Jamie
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I’m working internally inside Nat Geo and have been told that HDV does not qualify as HD. We were told the same thing by PBS. My show first delivers to PBS and then is repackaged for Nat Geo Channel. Nat Geo Channel has a list of cameras that qualify as A Cameras and they all have 2/3″ chips. Even the EX3 that has a 2/3″ chip has to get special permission to be used as an A Camera and even then it has to be shot at 50MB/sec.
I’m in agreement with everyone that HDV when shot correctly looks great and I when I get it, I digitize it at 1080iProRes HQ. But if you are asked to put down on your deliverables what camera(s) your show was acquired in, don’t be surprised if HDV cameras get nixed. We had an outside producer shoot an incredible adventure story all in HDV and we tried to pitch it to the Nat Geo Channel, but they wouldn’t accept it because it was shot entirely on HDV.
If you’re delivering material acquired in HDV to broadcasters and they are not balking, that’s good to hear. I’m just relating my experiences in the hopes that no one gets caught flat-footed when they go to deliver or sell their show.
Jamie
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Kirk,
Go to your timeline that is in the correct codec and aspect ratio you want. Go to the first frame of your video, mark an IN and OUT for that first shot and do a match frame to the original HDV shot. Overwrite onto your existing shot and you should see that the new HDV shot on your timeline fits the frame exactly. Now copy this shot, then select all the rest of your shots that need to be fixed on the timeline, then right-click and select Paste Attributes, select Basic Motion and Distort, then click OK. This should get all your shots to display properly on the timeline. If you’ve done any funky pushes or moves on any of your shots that required you to mess in the any of the areas of the Motion tab, you will overwrite them when you paste attributes. So you might want to just copy attributes to blocks of shots upto and after the affected shots. You will have to go into those shots that you effected earlier and make your changes by hand.
Hope this helps,
Jamie
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Just to throw another wrench into the mix… if you’re shooting for broadcast, check with your network of choice what cameras they accept as qualifying to shoot HD. For example PBS specs say that a camera with a 1/2″ chip qualifies as an A Camera, but the Nat Geo Channel requires a camera with a 2/3″ chip for an A Camera. Also HDV does not qualify as HD regardless of how it was shot (again my experience with Nat Geo Channel and PBS) it falls into the 10 to 30 percent of SD allowed in an HD program.
Jamie
OX 10.5.5
2×3.2GHz Quad-Core
8GB Ram
XRaid
Kona3
FCP 6.0.4 -
My co-worker cuts a music show of live performances and some of his shows have had up to 10 cameras. (He’s cut about 30 shows using multicam.) He shoots in HD (to future-proof the show), but cuts in DV50 off of firewire drives daisy chained via firewire 800 (not ideal, but getting a different storage solution is out of his control). He’s cutting on an Intel Mac that’s about 1 1/2 years old (not sure the specs on the machine, I think it has 4GB of RAM). He hasn’t had any issues that I’m aware of with the mulitcam feature. He does his media management and then sends the show out of house for someone to color correct using Color.
If your show is delivering in HD, then you should definitely offline in a low-rez codec and then online in ProRes 422HQ. Fast drives and a lot of RAM will do wonders to the speed of your work-flow.
Hope this helps,
Jamie
OS 10.5.5
FCP 6.04
2×3.2GHz Quad-Core
8GB RAM
XRaid
Kona 3