John Rofrano
3
COW Coins
Forum Replies Created
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Quicktime MOV is a wrapper not a codec so what you need to do is find out which codec was used for these files. Try opening the file in the Quicktime player and press Ctrl+I to bring up the Movie Inspector. Look at the Format: field and this should tell you which codec you need. Then your next problem is finding that codec for Windows.
~jr
http://www.johnrofrano.com
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I would not render final output to Cineform. It’s an intermediary codec which, as you have seen, requires the CineForm codec to be installed on any computer you wish to play the file on. Use one of the MPEG-2 templates instead.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
It does by default and there is nothing you need to set. When it needs them it will use them and when it doesn’t it won’t.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
What aspect do you plan to output the video? 16:9 or 4:3? That will ultimately determine the best way to edit it.
It also depends on what the JVC “16:9 camera crop” mode is doing. If it is shooting 4:3 and adding black bars to the top and bottom then you don’t have 16:9 anything. You have 4:3 with black bars. There is no way to bring up the safe titles overlays for 16:9 because you don’t have 16:9, you have 4:3 with black bars embedded in a 4:3 frame. Just use the 4:3 overlay because that is the real screen aspect. The left and right safe areas will still be accurate and the top and bottom safe areas won’t matter because they are in the black bars.
If the JVC “16:9 camera crop” mode really shoots in 16:9, then you should be using a DV Widescreen project in which case the normal 16:9 title overlay will work just fine.
If someone who knows the camera told you to edit in 4:3 the it’s probably the former. In that case, 4:3 is your only output option without loosing resolution. It’s pretty easy to figure out really. just drop the footage in a 16:9 project and if you have black bars top, bottom, left, and right then you don’t have 16:9 footage. Switch the project to 4:3 and be careful with the black bars if they are part of the video because any FX you apply to the video (like color correcting) will be applied to the black bars as well.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
Wow, they say a picture is worth a thousand words and they ain’t kidding. I saw right away that you used Track Motion as I suggested to place the timecoode. All you have to do is copy the Track Motion Keyframe from the timecode track, and paste it in the yellow track and all will be well. (i.e., open Track Motion on the timeocde track, right-click the keyframe and select copy. open Track Motion on the yellow track, right-click the first keyframe and select paste)
~jr
http://www.johnrofrano.com
http://www.vasst.com -
> Where do I find “(Read: the mattes turn your entire Jump Back collection or any motion background into 100’s of new Editor’s Toolkits)” so I can indeed read it?
Sorry for not being clear… the word “Read” in my comment was short for “read between the lines” meaning that the implication of what I just said is that the mattes can be used to make the equivalent of Editor’s Toolkits from other media that you might have lying around. Don’t be afraid to experiment… which you are probably doing right now. 😉
~jr
http://www.johnrofrano.com
http://www.vasst.com -
[Once I added the Solid Colour, for some reason the Whole Screen became yellow except for like a small rectangle area in the top left, but then Video Pan/Crop, I moved it out of the way, and it seems to have worked, and the numbers are yellow.]
When you initially add the yellow the whole screen is yellow but once you make it a child and change the parent track to multiply mask, only the numbers in the timecode should be yellow. You should not have to move anything out of the way. It sounds like you did not make the color track a child of the parent timecode track. This is very important.
[Also when I added the yellow, the time before the yellow time disappeared, so I added a White solid colour for those 45 mins, and then video panned to get it out of the way just like the yellow, and that seems to have worked. Why it did that I have no idea…]
Because the parent (timecode) track is now in “mask” mode and so it needs media under it in order to be seen. Sorry I should have mentioned this but I kind of hinted at it when I said that you could control the color of the text with different media below it… white being one of the colors you would need.
[Another question or 2, if you don’t mind me asking, this timecode idea, this will only work if the video file is in one clip correct? Or is it as long as the Empty Event is in 1 piece, this will work?]
You are displaying the timecode of the empty event so as long as that event is in one piece the timecode will continue to increase. Once you split the empty event the timecode reverts back to zero at the start of the split. It has nothing to do with the video length.
[Also, is it possible to fade out the timecode then fade it back in without losing time? Example, on screen graphic, showing time and score, they score a goal, the on screen graphic disappears, a lower third comes up showing the goal scorer and the match score etc.. then that disappears and the on screen graphic appears with the clock continuing as if no time was lost…]
As you have seen, the media on the child track controls the display of the timecode. Just remove the media where you don’t want the timecode to show. You can even fade the media out and the timecode will fade out as well. The time will continue to run even when it’s not shown. You could also place a Composite Level envelope on the timecode track. That would be another way to control it.
[Apologies for the multiple questions…]
No apology needed. I hope I answered them in an easy to understand way. They were great questions. Asking questions is how we fill in the gaps in our knowledge.
[Your help is greatly appreciated.]
You’re welcome.
~jr
http://www.johnrofrano.com
http://www.vasst.com -
> What are the mattes for as I really don’t appear to need them?
Steve hinted at this but there are really two answers:
(1) You are correct… you don’t really need them for the DJ Editors Toolkit stuff. They are for NLE’s that don’t support Alpha Channel and require a grayscale matte. Both do the same thing. Since Vegas supports alpha channel the mattes are redundant.
(2) They are useful for creating your own overlays. Using the mattes you can select any background from, let’s say, your DJ Jump Backs collection and you instantly have 100’s of new overlays. Use the lower thirds mattes with your Jump Back collection and you now have 100’s of new lower thirds. So they are really useful, as Steve said, “once you get your compositing juices flowing”. (Read: the mattes turn your entire Jump Back collection or any motion background into 100’s of new Editor’s Toolkits)
~jr
http://www.johnrofrano.com
http://www.vasst.com -
Ray, The cookie cutter is perfect for this sort of masking. Changing the color of the numbers is slightly more complicated. This is because the timecode is an FX and not part of the media itself and so any other FX you apply to change the color will not change the timecode (just the media which is empty).
We can, however, take advantage of the fact that the timecode is white and white can be used as a luma mask. So here’s what you do from scratch (you would start at step 5 since you already did the first 4 steps):
- Add a new Video Track (Ctrl+Shift+Q) and keep it as the top-most track.
- Insert an Empty Event on the Video Track
- Add a Sony Timecode FX to the Empty Media
- Add a Sony Cookie Cutter FX to the Empty Media and mask any unwanted numbers
- Add a new Video Track BELOW the previous track you created
- Press the Make Compositing Child button (down arrow) on this new track to make it a child of the previous Video Track
- Insert a Generated Media Solid Color to the new Video Track and select the Yellow preset
- Change the Compositing Mode of the parent Video Track to Multiply (Mask)
You should now have yellow numbers. Simply change the solid color media to any color you want during the duration of the match.
~jr
http://www.johnrofrano.com
http://www.vasst.com