Mark Suszko
12
Apple Final Cut Pro X Coins
15
COW Coins
2
Premiere Pro Coins
4
Apple Motion Coins
Forum Replies Created
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Instead of dragging LUTS onto clips, one can also create an adjustment layer above the track and make the color tweaks in there.
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How I would attack this is to multicam it in two stages: do your best multicam of the first night, save that, do your best of the second night… then either render them out and start a new project wit them as your only two sources… or make those compound clips, and now you just have to work with syncing up two compounds using the , and. keys. Blade thru the places where you want the other compound to show thru. Create an empty, silent track below and pin all the compounds to that first, to keep things from drifting.
This requires a little bit of directorial work in your head, but by this time you probably are pretty familiar with all the footage and know which night has the best shots for each part of the show.
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When I see that I can hear Vince Guaraldi playing.
Merry Christmas wishes and hopes for a prosperous New Year!
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I understand it takes more processor overhead to work with the mpeg4 files versus say a prores or dvcproHD file. If that doesn’t trouble you, I’d say go ahead. Your final render will possibly be slower. Me, I always bump my mpeg4 to prores before I work with it in FCPX.
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what other converters/transcoders have you tried?
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One more possible free/low cost option: ffmpeg, or the inexpensive version of it with a GUI.
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Try Converting to prores first using Compressor, or another app. I’d have said “Mpeg Streamclip” as a default answer, but Catalina OS kills it.
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Well, I control a remote PTZ HD camera from 200 miles away via IP. Sony-based, controlled thru the joystick on our Ross carbonate switcher. Due to about a 3-second lag, the camera position presets are your friend. The very fine control is not really there, IMO.
Newtek is all about integrated solutions for a need like yours, and you get so much with the package I think you’d have to consider it.
The concern that I would have is about the type and level of signal compression and the codec used to send green screen HD video back to a remote site for further integration. I mean, the Cable news orgs and networks do it like that on a daily basis, but I’m sensing your budget might not be on the same level. You need green screen as absolutely clean as possible to do the best job. Adding noise or taking resolution hits on multiple encode/decodes thru the various signal chains makes me nervous. To the point where I’d look at how to do the keying *before* sending it back. But that’s just me, worrying.
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It’s partly FCPX but it’s also whatever is playing your finished disc that is fetching and displaying the metadata. The trick would be to delete that particular piece of metadata, or find an optionint he layer that turns off the demonstration of the file name.
I miss DVDSP every week.
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And there’s always GIMP as well (ducks, runs)