[Michael Hadley]

Thanks for the explanation of when/if X will optimize.

The shoot was done with Sony EX3s going to Nanoflashes, so the resulting files are 4:2:2 XDCAM LG @ 100mbps.

I did a test converting on a sample to Pro Res and keying with it. I couldn’t really see much of a difference. But–I’m thinking I might export the completed video (with no key) as Pro Res, then bringing it back in to do the keying with Pro Res in the hopes it might go a bit easier.

[Michael Hadley]

Thanks Simon for all the useful tips.

I will probably end up doing just what you suggest. The problem is a fair amount of green spill into the outer hair rim, which is kind of frizzy. Using light wrap, edge control, softening, etc. makes for a strange looking halo (or is that hair-o) that is just not that great.

I’ve never tried the plug in Keylight-do you think I might get better results than X, PHYX or CVH?

Thanks again.

[Michael Hadley]

When you open the multi cam “open in angle editor” or right click and then select that, you can slip audio, adjust video timings, etc.

Can’t seem to adjust separate audio tracks, however. But, seems likes back in the timeline, you can break apart clip items and get access to the individual tracks—if you make them dual mono track in advance.

[Michael Hadley]

Thanks. Somehow I didn’t see it.

[Michael Hadley]

Hmm. That’s possible. The original source is XDCAM 422 100mpbs, so it’s fairly robust. BUT, I thought FCPX only considers ProRes to be optimized.

When I click on the transcode options in the multi cam clip, neither proxy nor optimized is available. Proxy I understand because I had proxies made of the all original source footage .

The reason for my questions is that this is a green screen job and I’m having some trouble pulling a key (even when I go back to source footage). I’m wondering if Pro Res would do a better job handling the problem areas (a woman’s hair with green spill). My test so far have proven inconclusive. Have tried the keyed in X, PHYX and CVH. Results have not been that great.

Thanks!

[Michael Hadley]

8 core 2.26 ghz Pro with 8GB eSata, 24gb ram.

Thanks.

[Michael Hadley]

Thanks. That’s my thinking. My concern is editing performance of the 2-cam green screen multi cam clip once I am trying to key it over the background, add titles, color correct, etc.

[Michael Hadley]

Cool. I’ll have to check that out!

Thanks.

[Michael Hadley]

Thanks for that idea. However, I think I “solved” the issue. It’s a little cumbersome but it kind of makes sense.

1. After you synchronize, drag the clip to the timeline. In the audio inspector, deselect the original/bad camera mic audio, leaving only only one track of the good audio (in reality, a stereo track comprised of the boom and the lav.)

2. In the timeline, break apart clip items. Both audio and video will then be highlighted. Deselect video and select the single audio track.

3. In the audio inspector, in the channel figuration, deselect stereo and then select dual mono.

4. Back in the timeline, select the single audio track and the break apart clip items again and voilaå–indpendent audio track, boom and lag on separate tracks.

FCPX has a lot going for it. This is not one of those things. Way too many keystrokes to do this but on the other hand, the Synchronize clips functions worked liked a dream.

[Michael Hadley]

That’s great to know that you can expand/resize a sparse disk image. Can you go in another direction? Let’s you created a sparse disk that was 150 GB but only used 100GB–can you shrink the sparse disk to save space once the project is complete?

Thanks.