Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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[kelly armstrong] “Is it because I’m scaling down that it’s affecting the quality? “
Pull the graphic back into Photoshop and adjust the canvas size to 1280×720… see if it makes a difference.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Dwayne, I think he means that the media no longer plays in real time if he adds a keyframed grade transition.
I think its an overall system performance issue, but we don’t know anything about the poster’s hardware complement.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[David Mathis] “I can add a clip into the media pool as a matte,”
As Sascha correctly observes, you only add a matte for a particular clip. You aren’t really bringing it into the Media Pool so much as you are selecting a clip already in the pool and “attaching” the matte to that clip. And the rules about offsets and clip length have changed in version 9.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Terry Crist] “is there some combination of RGB that would yield a more brownish color”
Brown is a low-luminance, low-chrominance member of the amber-red family.
Commonly, artists achieve it by mixing red and green (oil/acrylics). If you are attempting to wash the scene (?) towards a sepia tone, you could try nudging the mids up the I-axis (or near to it) in a following serial node, and then you could modify its effect by qualifying it in some way; HSL key or window, for example.
This is the way most colorists run up and down the CIE hill, which is not a LUT-cube, or a wheel or a sphere.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Shane Ross] “Most often right out of school students don’t hit the ground editing. They start at other companies doing lower end work and working their way up. So they use the software and tools those companies use.”
This would appear to infer that ‘learning to edit’ with FCX would be an even bigger waste of time (since it does all the organizational legwork for you) so that would be a non-acquired experience, and no matter what cataloguing model a production company bases its server-sharing around, its going to be a cold start for anyone entering the environment.
I liken it to moving into a new house. The dang light switches are in different places everywhere! I especially hate it when the bathroom switch is outside the room. But FCX doesn’t even have light switches, it is so simple and helpful — but you only get illumination when Apple decides you need it and they feel like flipping the switch.
Does anyone (else) here remember SCTV’s Ed Grimley (Martin Short) , who never learned how to climb a staircase?
Apple: why bother? anywhere we’d go has escalators. As If.jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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its called “Target” mode. You don’t check the FCP XML round trip option, and the target mode will render a single QT clip of the timeline. On the Delivery page it is now accessed as Render Timeline as: Single Clip.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Michael Hendrix] “I actually stopped watching around the 14 min mark.”
The stream croaked at about the 20 minute mark for my 7 year-old Tiger iMac (stone-age technology), and maybe there is some more valuable information in the last half. If there is a redeeming summation, it was unavailable to me.
So this is a powerpoint presentation meant to justify a decision to a very low budget AV program at a high school or college. Which would be their *industry*. Unfortunately its an indictment of how “dumbed down” the view is of production objectives from a very narrow perspective. The presenter clearly has no idea what “COLOR” is or what its for and how very limited the grade capability actually is — however, “not anything they really need”, may be a more honest assessment than intended.
While I am not a foaming-at-the-mouth fan of FCS, and believe that Final Cut Pro was cut way too much slack by people who were over-leveraging it into applications it was clearly not suitable for, its almost amusing to see this kind of a point-by-point cherry-picking exercise argue for something even more limited because the poor students won’t be able to figure out anything more sophisticated. Comes across as vaguely patronizing.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeff Meyer] “If it’s going to web wouldn’t 640×480 (or better yet – the final video size) using a square pixel aspect ratio be the correct choice?
“Yes, you’re in for a world of hurt now.
You want to be hexadecimal compatible (everything divisible by 16) if you want a clean web presence. So you will likely wind up in a 480P format, whatever the pixel aspect ratio might be that you negotiate and finally cram into the “standard” NTSC frame.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Enno Jacobsen] “(1) Correcting the material in Resolve to a basic, fairly neutral and technically “correct” state, then add optical flares in AE. And in a third step finally bring it back to Resolve to set the look.”
Can the flares be exported as a Resolve-compatible codec with alpha channel? In that case, you could bring the layers into Resolve and grade/blend in context.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ken Evans] “At h.264 we can get it down to 6GB “
Have you attempted to lower the bitrate within the H264 encoder?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.