[Jon Smitherton]

Try After Effects’ new warp stabilizer in CS5.5 – have been doing exactly that, this week – works great!

Jon

[Jon Smitherton]

Looks like an interlace problem to me – as HDV is interlaced – have you de-interlaced on export?

Jon

[Jon Smitherton]

Hi Simon

Thanks for your help – FCPX needed its preferences deleted… thanks to preference manager!

Cheers,
Jon

[Jon Smitherton]

Hi Simon

No, I’m having trouble importing the clips..was thinking it is non PAL or NTSC sizes…like 720 x 480 etc…
either that or FCPX isn’t liking Prores LT…

Cheers,
Jon

[Jon Smitherton]

For instance non PAL or NTSC SD or HD sizes…

[Jon Smitherton]

[Jim Giberti] “Use “Break Apart Clip Items” not “Open in Timeline” and see how nice it works.”

So if you made a compound clip of say the dialogue stem, added a compressor…then ‘broke apart’ the compound clip then added another compressor to a single clip…you would hear both compressors when broken apart?

If so, this is great. Maybe a tutorial is in order!

Cheers,
Jon

[Jon Smitherton]

[Jeremy Garchow] “Roles could most definitely serve as a virtual audio bus, without tracks.”

Of course with say 4 inserts on each bus.

Do the Waves plugs show up in FCPX ok? I really need the L2 or L3 ultramaximizer limiter to keep in broadcast specs…and DINR for noise reduction and pitch’n’time for quality time stretching…

Then it’d be BYE BYE PROTOOLS!

PLEASE NOTE APPLE!

Jon 🙂

[Jon Smitherton]

In Protools this is my config:

EQ + Compression on each track
then tracks are bussed to stems (VO, Dialogue, Music, Effects)
then compression are applied to the stems
then over the Master Bus – Compression and a Limiter to keep in broadcast specs.
Then I start keyframing levels either on the clip or bus.

As you can see there are varying degrees of Compression – usually light on each one – 2 to 1 to 4 to 1 compression ratios to keep the mix under control.

With your technique the problem for me is that because of my degrees of compression – is going backward into stems or tracks. For Instance, I need to hear the master bus output when I adjust the one of stems. With compounding it doesn’t allow this.

However (!) if there was a roles mixer where I could put EQ + Compression on each role or stem and the same over the master bus it would be problem solved!

Jon

[Jon Smitherton]

Hi Tim, many thanks.

I think I’ll wait till the picture lock is approved before I dupe/upres the media, then output a master.

I assume there is no consolidation with handles like in FCP7.

In terms of Archiving – can I just keep H264 files (I’d like all the rushes as there may be a possibility of a future TVC) with view to that when I start the project again it will re-create the proxy or optimized media?

Am saying AVID is too work-intensive with its patching – I’m finally thinking Apple had the right idea with the magnetic timeline.

Cheers,
Jon

[Jon Smitherton]

Also is there a way to whack in custom percentages like 250% etc?