Michael Hancock
Forum Replies Created
-
Hey Neil,
Is it safe to run FCP and Media Composer on the same system? I suppose if you did a dual boot you could without a problem but that would require a restart everytime you wanted to switch editors. I know that if you install Premiere Pro and Avid software on the same system they fight and don’t work properly. Just wondering if anyone has tried this (without having to run a dual boot config) and run into any problems.Mike.
-
Well, you can’t do it. I stand corrected.
I guess, because of the CC interface, it doesn’t recognize the media when you uncollapse an effect to nest a color correction, or if you already have a color correction nested it refuses to adjust it unless you step in to the effect. That does make it difficult to match color between shots when using something like a PIP. Sorry. Thought it could be done. I’ll post back if I find a suitable workaround.Mike.
-
It may not work with a color correction effect because of the interface issues. I’ll try to jump onto one of our new systems today (Mojo or Adrenaline) to see if I can get it to work. I’ll let you know what I find out.
Mike.
-
Easy! Apply your color correct first, then the PIP. Or apply the PIP, step into the effect, and apply the CC. You have that part down. Now, to color correct and still see the PIP effect do the following:
1. Enter segment mode (red arrow).
2. Double click the clip that has the nested effect on it. This will expand the effects in the timeline. If your effected clip is on V2, you’ll now have V1, V2, and V2.1 and probably V2.2 and maybe V2.3.
3. Enter effect mode, select the color correction effect to activate it, and correct away. You are now effect CC while seeing the PIP effect.You could also enter Effects Mode, select the PIP effect, double click it, and it will expand the track that way.
By expanding the tracks like this you can see the composite result of all effects while tweaking/adjusting nested effects. I do it every day. Works a treat.
Mike.
-
Consolidate: Take all the media used in a sequence + handles and make new clips of only that length. For example, you use 8 seconds of a 3 minute shot. You consolidate with 60 frame handles–now you have a 12 second clip and can delete the 3 minutes, freeing disk space while keeping your sequence online.
Transcode: Change the resolution of Media. For example, you do your project in 2:1 and want to offline to edit off a firewire drive at home. Transcode to 15:1s. Now you have highly compressed footage that takes up much less space.
Mike.
-
Agreed. You met with them, decided on the parameters of the project, bid for the job according to that and an agreement was made, in writing, and I assume signed by both parties. If they wanted to change it, that was the time to do it, especially since adequate time was given for both parties to consider the scope of the project. Anything that deviates from your signed contract is a break in the contract, requiring a new contract with new rates and expectations to be drawn up. If you continue with the original contract without addressing this issue you will have a huge fight on your hands and likely never be paid the second half of your payment. Time to renegotiate EVERYTHING.
Good luck. I remember your original post about this and it sounds like you’re working with potential grinders. So heed Tony’s advice and if this isn’t solved run away from it.
Mike.
-
Thanks…they call me PromoBoy at work because, well, that’s what I do all day. Edit/produce promos. Of course, when I turn thirty I may ask them to call me PromoMan, but that’s still a few years off.
Mike.
-
I don’t think it’s bundled anymore. We just ordered 2 of the production suite pro packages and didn’t get it with either one.
Mike.
-
Wow. I was way off on my Symphony price. Thanks for the correction.
Mike.
-
Check it out.
https://www.avid.com/exchange/forums/thread/108596.aspx
Looks like it’s targeted for Q1 of 2007.
Mike.