Mark Petereit
Forum Replies Created
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Chris Tarroza> If it were up to me, I’d convert everything to ProRes 422 as I’ve done that in the past with H.264 footage and the editing process was fine. I converted everything with MPEG Streamclip.
And you would be right! 😉
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If the purpose of your demo reel is to demonstrate your editing abilities, then I would think it would be wholly appropriate — even advantageous — to use stock footage. After all, if you can take stock footage and make it interesting/exciting then you can pretty much conquer the world! (Only half-joking.) 😉
Think about it — editors don’t shoot footage, they ingest what others provide them and it’s their job to cut it into something useful, which is exactly what your reel demonstrates. You might go one step further and note the stock footage libraries you used at the end of your reel. But use your editing skills and make THAT interesting/exciting as well.
Good luck!
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>his “reseller/installer company tried to turn him to ADOBE PREMIERE and all Adobe due to their 64-bit apps and ability to address virtually unlimited “ram”.
> This “reseller-installer” told him it was due to Final Cut’s 32-bit app and inability to process more like 64-bit apps.LOL!!
Motorist: Hello? Can you help me? My Ford Focus won’t start.
Dodge Dealer: Yes, 6-cylinders always do that. You need to buy a new Dodge Viper with a 10-cylinder engine.Pretty much the same conversation.
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Just a thought. If your end product is DV resolution, wouldn’t it make more sense to render your title graphics out of Motion at DV resolution? If you render your vectors in Motion to HD, then resize to DV in compressor, you’re losing the advantage of your vector art, since you’re resizing rasterized HD video.
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Actually, I think the problem is that the USB stick came pre-formatted as PC FAT32.
Just reformat it as Mac and be done with it.
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Add your beginning clip to the end of your timeline. Make sure you apply exactly the same pan and scan treatment as your first clip.
Take the total number of frames in your clip and divide by 2. Move the In point of your timeline to the right by that number of frames. Move the Out point of your timeline to the left by that number of frames.
Loop.
If you have any jitter at your loop point, move your Out point 1 frame to the right. Jitter worse? Move it left 2 frames.
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Use SDI to capture your footage. FCP doesn’t know how to read timecode over SDI so it just defaults to starting your timecode at zero and capturing your entire tape.
I would do cartwheels if someone could prove me wrong on this, because I DESPERATELY need to be able to capture video over HD-SDI with embedded timecode intact. (I’m capturing with a BlackMagic Decklink HD Extreme board.)
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I’m still working in FCS2 (hopefully things have improved in 3), but I have one mantra when working in Soundtrack Pro: “SAVE OFTEN” because it seems to crash frequently any time you try to throw anything complicated at it.
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Just Google it.
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I recommend sitting through the training DVD that comes with the FCS suite. It’s how I got started with Final Cut.