Jon Barrie
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By running it on the edited clip you minimize the efforts in stabilizing.
I’d use mocha for the sabilization as it uses a much more forgiving process. Learn up on it first. It’s not as hard as it may appear.
Stabilizing can take a long time to process so doing it to the entire clip when all you want is a small amount of it you can cut down on processing times. And te amount of stabilizing may not be as severe at certain parts of a clip.
– Jon
Jon Barrie
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Hi torben,
As the frame dimensions of your media are “unorthodox” and don’t fit any standards, any presets will most likely have a smaller or larger frame dimension which causes the black borders.
Try this:
In project panel, grab your media you want to edit and drag it down to the bottom of the panel where there is an icon for new item. It looks like a page with the top corner turned.Now drop it over the new item icon. (release the mouse button). Wait a few seconds and CS5 will create a custom sequence to match your media properties including frame rate. If you plan to export to a standard then best to work with the file in it’s own custom sequence. Finish and export the same dimensions.
Then use the final export in a new “stantards preset” and scale it to the way you want it and export again with the maximum quality tick in ame settings UI.
Jon Barrie
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No Worries I responded while at the traffic lights, (naughty naughty) so I couldn’t quite remember the detailed instructions and terminology to follow exactly. But Todd knew where I was coming from 🙂
I have that particular render setup in my Custom KB short cuts as “Shift+Enter” as I think of the Shift modifier as a super upgrade of the original key, such as “M” to match, I have the ‘reveal in project’ set as “Shift+M”
😉
– Jon
Jon Barrie
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I do all my CC in PPro and have the arrangement you seek. It’s not as “straight forward” as setting the CC workspace as that is not set up for the Scopes side by side with the monitor. You will need to manually set this up and save your own workspace.
When you first ask to use the Color Correction workspace you will be given the Reference monitor, which shows up as a duplicate of the Program Monitor. It’s the “Reference Panel” (shows up on the bottom right as default to CC workspace) that you want to “setup” the scopes with.
Select the RGB circles icon (Output) and select the type of scope/s you want to see (I use the “YC Waveform” mostly). Then grab the top left edge as circled in the attached screen shot to move the panel to a space where it can be larger and easier to read the scope values.
Hope this is what you are after. 🙂
– Jon Barrie
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Set the work area around your clip and select render workarea from the sequence menu.
Jon Barrie
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Yep that’s how it works. Mouse panel hover bias.
I quite like the freedom to flick one and another without having to activate a panel first.
Might take some getting used to but you could leave the mouse over the timeline then and use shortcuts for the other panels.
– JB
Jon Barrie
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To get timeline to fit view hit / key. Move the CTI (playhead) Tap / again to go back to the same zoom level at the new timeline point.
AIFF should import fine on PC or Mac. Try cleaning your media cache from the preferences. Then allow all the conforming to occur again before editing. May need to relaunch PPro. 😉
XDCAM footage can be edited from the native recorded folder structure. Gain access to the clips via media browser panel.
– JB
Jon Barrie
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Yes chuck. I meant it in the context of reputation and available paid work in post production for Indy, TV and some feature work. PPro has been in market catch up mode for some time.
Positive Stability and userbility were very much renowned and synonymous with FCP and price point. However the QT structure of FCP has fallen behind to innovation in compression for pro video and GPU acceleration with apple “needing” to write their own drivers for video cards.
PPro is still not quite as mature as I am sure it will get in it’s current form. It’s evolved with the markets formats and codecs whereas FCP being QT on steroids still says, “see that file your camera made, I’ll take that and apple-fy it for you”.
I’m a happy cutter on either within their proper conditions. Overall I bleed premiere when I cut. 😉
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You want to edit in 24p in this case. As the 24fps from 60p is where you gain extra frames = true slowmotion. The rest of it will be 60p in the 24p timeline and this is how you would export too.
The extra frames are either dropped or you can set the blend frames box upon export in the media encoder settings interface to smooth the frames into each other a little. Might want to run a couple of short tests before the proper editing/exporting goes ahead. 🙂
I usually have a duplicate of any clip i want to make 24p from 60p so when I cut it I am actually going from the true slow to the original 60p playback. Or you can set to 24p then speed up the 24p to match the 60p playback speed, would be 2.5x or 250%.
There will need to be rendering but it should all come together really nice. 🙂
– JB
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Hi Jürgen,
I am sorry your experience was not what you expected. Adobe have a differnet way of working to FCP and now that editors are at a point where true native format editing saves time and quality control along with GPU support via nVidida cards the need to look and learn a slightly different way is too hard to ignore.
Regarding any of the Proprietary codecs from FCP if using another NLE product where the media being decompressed is not as clean as the original code that was designed then there will be problems no matter what scale system you work with. As long as it is not being used in the App it was made for (as it would have the perfect decompression code for it) such as FCP codecs in FCP ONLY.
Personally I have had much more trouble with using the FCP multiclip interface in version 7 that its worth. Most of the other cutters I know just cut it old school with multiple tracks and cutting the 2nd track (cam) to switch when they feel the edit deserves it using multiple cams as PIPs. Using Plural Eyes to gain sync. This is a terribly slow way to work with Multiple cameras.
PProCS5 still has some ways to go in some areas, but with the native file support and right codecs it is a much smoother process than FCP 7 in my opinion. You just need to know the ways around how to use the Multcam window to edit MC really fast. Playing the the timeline with the MC Window open allows you to switch at whatever playback speed you feel comfortable with.
When it comes to the audio I have the original audio in the seq I am MC editing and set the audio selection of the MCWindow to a track that has either nothing or is locked.
Holding the shift key and tapping L to move in smaller fwd speed increments allows a small increase in speed from RT upto full FFWD. I can move faster than realtime (RT) while previewing my angles and still hear the audio crystal clear for cut points at a speed near 2x. Tapping J while holding Shift will pull the speed back a touch & finding the right speed can cut the workflow time in half by switching on the fly instead of stopping and cutting only to work in RT again to find the next edit point. Then the switching off a clip to show the underlying clip. FCP can’t edit faster than RT as the 1st level of speed past RT audio get crunchy and horrible, there is no way to increment the speed down so I am left having to sift through 1hr in RT plus stoppages to cut down to 24mins for TV.
Its not the tools, but how you use them that can make a massive difference. FCP was the benchmark. CS5 with Native and GPU support is gaining on it, but the tricks I’ve out laid here have been there since CS2.
Hope your editing time is mostly editing and not troubleshooting. That just plain sucks no matter what NLE your on!
Take care.
– Jon
Jon Barrie
aJBprods
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