Josh Olenslager
Forum Replies Created
-
Have you tried launching Quicktime and using the “open image sequence” option? I’ve only used this feature with tiff file sequences, but works great–not sure how it would do with a png or if QT would even recognize it, but might be worth a shot.
Josh
Digital Media, Thought Equity Motion
-
Joseph,
Forgot to to say, by the by, that the 6.67 is just the slope for European letterbox.
1.66 pixels horizontal for every 1 pixel vertical. That’s why you’ll see, scope for example at 2.35:1, etc.Josh
Digital Media, Thought Equity Motion
-
Joseph,
sorry that this slipped past me the first time, but 1024 x 576 is a PAL anamorphic frame size for SD already. Once you’ve taken that into FCP, are you turning the anamorphic function on in the FCP browser columns? I’ve just pulled a true HD clip (PROres HQ 1920×1080) into FCP and into Compressor and there is no distortion in either one once I add the 1.66:1 letterbox (Widescreen filter in FCP, geometry output letterbox in Compressor). The anamorphic aspect ratio might be where you’re seeing the distortion originate. Try setting FCP to recognize the 16:9 framing for the SD. (There’s an anamorphic column that you need to select — a check mark will appear when turned on.) And then check that against the letterbox and see if it fixes what you’re seeing. Both programs appear to be reading the letterbox mattes properly for me.
Let me know how it looks after you try it–or if you’ve already tried it, maybe I’ll attempt to duplicate the problem so I can see it more clearly. Good luck!
Josh
Digital Media, Thought Equity Motion
-
Paul,
If you’re asking how to create a freeze frame to compensate for your voice over timing, set the play head from your sequence viewer on the frame you want frozen, go to the “modify” drop down menu, and select “Make freeze frame” (or hit shift+n). Final Cut will create a frozen frame based on your still image length default. Once it is created, you can trim/lengthen to what you need.
Best in editing.
Josh
Digital Media, Thought Equity Motion
-
Matt,
couple of questions —
how are you exporting your project? Are you using QT conversion, compressor, something else?
Also, if you could include a couple of screen shots, that might help us see if there is some tweaking we could recommend to the key itself — assuming your using the color key in video effects. Is that true? Are you using anything else?Josh
Digital Media, Thought Equity Motion
-
Rob,
I’ve worked with the 2006 Mac since it came out. We’ve kept things upgraded, added more ram and raids when we needed them, and they still outperform the new iMac that’s in the office. I’ve also worked on the Macbook pro. I’m with Walter on the recommendation here. Even if you do go with the iMac, you’ll get the system that you get. With the tower you’ll be able to add and customize as you go.
Josh
Digital Media, Thought Equity Motion
-
Hi Joseph,
You might make sure that you have the exact ratio you want selected in your compressor output as it has various options including: European standard, traditional 16.9, scope, etc. Personally, I would continue your output process using compressor. I’ve had much better and more consistent results. Also, if you’re using the filters menu in compressor, try using the geometry tab instead.
best,
Josh
Digital Media, Thought Equity Motion
-
Last time I had a similar problem, I reselected my user set-up — I was working HD to Letterbox 4:3 downconvert via Kona — created a new sequence, copy/pasted the edit into the new sequence, and then the edit to tape function started working. All my set-ups were right in the first sequence, but it seemed like it just need a refresh or kick-start. Funky for sure.
Josh
Digital Media, Thought Equity Motion
-
I’ve also used the color solid in the matte folder in the video generators effects. Simply figure out the cropping data for top (one color matte) and bottom (second color matte) and crop up/down in the motion tab. Set the opacity real low on the mattes, to like 20 or 25 % — Overlay them over your video track bed — like track 6 and 7 or something that still gives you room to work. If you’re going to be using FCP to do the cropping, controlling the data with the mattes will give you an accurate look at what you’re output is going to be like. As long as the color mattes match the sequence settings, it won’t cause more rendering than is normal for an edit. I’ve used a photoshop overlay as well, so that’s another good idea that’s been mentioned.
best of luck!
Josh
Digital Media, Thought Equity Motion
-
Just thought of one more thing I’ve done that’s helped me occasionally: If you’ve got BITC, using the semi-colon/colon as an indicator for DF/NDF, take each of your reference cuts and set them in their own sequence. Use the sequence settings and set them properly as DF/NDF and change the start TC to match the BITC. You can then reassemble the main edit sequence with the nested sequence cuts and export a new EDL. In the past that has helped me recover the lost TC reads and errors in the edit, and allowed me to reconnect back the original media more easily.
Josh
Digital Media, Thought Equity Motion