Kevin Monahan
Forum Replies Created
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It sounds like you have two problems:
a) Taming the behavior of Time Remapping
b) Taming the behavior of Constant Speeda) ALL frames in a clip MUST be played back in Time Remapping, so get your mind wrapped around that. To tame the problem you are having, It is helpful to have a clip with a lot of extra handle on the tail end, so you can do the remapping with time remap keyframes, then just trim the area that “goes nuts”. I like to use the Speed Tool with the Keyframe Editor in the timeline fully expanded with Clip Keyframes to see what is going on in the Keyframe Editor’s Time Graph in the Timeline (NOT the Viewer). The feedback given by the Speed Tool’s tool tip is helpful to see as I adjust the time remap keyframe.
1. If you click and drag the speed tool left and right, the keyframe is constrained to move vertically, which spools through the available frames of the clip.
2. If you Option + drag the speed tool, the keyframe representing the frame you choose to an earlier or later place in real time.
Doing either will “remap” (either stretch or compress) the timing of the other frames that playback. Try to think of your clip as a “elastic” where if you slow down one area, the other MUST speed up. Use the Speed Tool with its tool tips and the time graph found within the keyframe editor on the timeline and NOT the time graph in the Motion Tab, where it’s harder to constrain horizontal and vertical movement of the time remap keyframe (which is NOT a normal keyframe by any means.).
b) Constant speed will mess with the position of other clips on the timeline, so you’ve actually got to do the speed change in the Viewer.
1. Apple + Option + F to load a copy of the clip into the Viewer
2. CMD + J to do the constant speed effect.
3. Replace Edit the speed affected clip back into the timeline.With that method, the position of the surrounding clips won’t change.
Suggest you get my book for a deeper explanation of these FX. I have a whole chapter which delves into these topics. Other resources include an article on my website. There is also one on kenstone.net.
Kevin Monahan
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I’ve never used a CG except for linear editing back in the day. I am not sure how you can put this in the workflow for a software based NLE. Sorry to not be as helpful, but a CG would be more useful in a live situation.
Kevin Monahan
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Monitor audio from the deck, NOT the Mac. Since audio is downsampled out of the Mac, you will often hear audio anomalies if you are not monitoring properly. Of course you should also monitor your video out of the deck as well. This is all a part of basic system setup, as shown in the manual.
Of course, many people don’t bother setting up for monitoring audio and video in the way Apple intended you to. It’s all ’bout reading the manual….:-)
Kevin Monahan
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They sure look cool though really…they are the WORST for monitoring.
Kevin Monahan
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Judging your time remapping by only using the angle of the time graph, means you have not grokked how to use the tool. The best way is to use the speed tool and trust the tool tip that pops up. The subclip idea is not bad, but IMHO–long clips are always trouble to remap. Log and batch capture individual takes for best results in speed affecting clips.
Kevin Monahan
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Yeah, but the soundsticks are weird in that they REQUIRE you to hook up via USB. Weird…
And sorry, i meant Decklink, not Kona–but same, same. 😉
Kevin Monahan
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Soundsticks are the worst possible speakers to monitor from. No flat response and you have to plug into the Mac’s USB ports. What you REALLY want are decent speakers to connect to your Kona NOT the mac.
Had another user experiencing pops and cracks through soundsticks that were NOT on the original source. Turns out that audio is downsampled to play through them, causing these anomalies.
Proper system setup dictates that you should NOT monitor from the Mac at all. DV users should monitor from the DV Deck or camcorder. Video Card? Monitor from the Card, NOT the Mac.
Cheers and hope that helps.
Kevin Monahan
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I think you are thinking of Genuine Fractals.
Kevin Monahan
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Taiyo Yuden is by far the best blanks you can get.
Kevin Monahan
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If that’s not the problem, are you capturing 24P? What is the cadence you are using?
Kevin Monahan
Take My FCP Master’s Seminar!
fcpworld.com