John Pale
Forum Replies Created
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Not the broadcast monitor… only talking about the computer displays.
More than one computer display on your ATI or Nvidia card will split the VRAM and adversely affect performance in Motion and with FXplug filters, as they rely on the GPU to work.
Also using an unsupported display card may cause issues.
I don’t think there is any way the Kona would cause any issue.
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Smoothcam within FCP analyzed the full media file, not just the clip in/out. If its a long file, it will take forever. The solution, according to the manual is to Export the necessary section as a Quicktime then re-import, before running Smoothcam on it.
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try moving the image up or down 1 pixel in the motion tab. the field order may be getting reversed.
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I take it you want the greenscreen to be transparent…
Key the subject over the background. Remove the background. Export using a codec that supports an Alpha channel, such as the Animation Codec at Millions of Colors +
IMPORTANT: DO NOT RENDER! Rendering flattens your export and makes a composite image. Leaving it un-rendered retains transparency.
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Never used it myself, but you might want to give this a try.
https://primo-media.com/?page_Request=Products
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No. Compressor is included with FCP studio and you can make all the presets you want in it…as well as droplets.
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does your system have 2 monitors? …that would cut the VRAM in half
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[chawla] ” but I’m not sure I understand the point of the name “duplicate as a new master” if the duplicate doesn’t act like a new master.”
I cant speak for Apple, but I think the thought is that the new master’s children (ie subclips, etc) are only tied to the new master. They obviously didnt envision a scenario where 2 master clips would exist for the same media file, and that somebody might want to have 2 different reel names or timecode for each master clip. I’m not exactly sure I understand what you are doing either. How can the same media file have 2 different master clips with different timecode? I’m sure something is just getting lost in the translation….don’t kill me for being dense.
My only difficulty with the present situation involves a multicam situation, where you want to log just one tape but have the logging apply to all the tapes. At present, you cant simply dupe the offline master clip and change the reel number, as it changes the reel number of the original. Using the Batch List export/import, I can get around that pretty easily.
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Since this is offline material, you can export as a batch list, then can change anything you want in Excel or a text editor…then reimport the batch list. This will work.
Sorry it doesnt work the way you want it to. I agree with your points. If there is no media yet, you should be allowed to change anything in the clip info.
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I can confirm the J-series can do the 23.98-29.97 conversion. Recently captured a whole bunch of material that way. It certainly appears to be a 3:2 pulldown. Perfectly clean.