Michael Nikitin
Forum Replies Created
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Richard, I know where the “Hmmm” is coming from, and it’s a perfectly reasonable “Hmmm”, but a MacBook Pro is what I’ve got. 🙂
Having said that — I can probably get access to other, more powerful machines. But for now, I’m just testing the waters, trying to see what formats are available, and what I’d need to work with them. So, let me ask you this… if not a 4K, and not a 2K, what’s the next thing below them? -
Thanks, Rick. Any other options out there, when going from film? We have not decided on the post house, yet.
Also, something to keep in mind is my system’s capability. I would prefer to do everything on my own MacBook Pro, but I don’t know if it’s going to be able to handle 4k (or 2K, for that matter.) If it doesn’t… what would be the next best thing, as far as transfer to digital goes? -
Shane,
I tried what you suggested, and it worked. Thanks so much for your response.
Meanwhile, I’ve been poking around, and found another solution: Modify -> Conform to sequence.
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Wow. It works! Pretty cool… Thanks, Dave!
Does this method mean that, to compress the video for DVD, for instance, I can only do it exclusively via FCP and Compressor (not that I have anything against that)? -
Hmmm…. This technique might work if I duplicate the layer, and tweak the colors of the new layer in such a way that dust particles change to the opposite side of the color spectrum. Then do a Channel -> Invert, mask the particles, then track the masks.
This could work, i suppose… _if_ I can get the masks.
In any case, it’s definitely an interesting approach, which I will try. Thanks, Simon. -
I’m not using ProRes or Animation; the file is Uncompressed YUV 8-bit 4:2:2.
I want to change the Embedded Profile to “HDTV Rec 709 YCbCr” (which, I think, would be the correct setting for this type of file), but I don’t have that option in the Interpret Footage window or in Project Settings. Whereas choosing simply “HDTV 709” doesn’t work either — I tried, and the clips still don’t match. -
Dave. It worked. I’m speechless. Thanks so much! And a big thank you to the guys at Popcorn Island.
In case if anyone has the same issue as I did, while having as little scripting experience as I do, here’s what needs to be done (it was not apparent to me what to do with the jsx file, at first), —
The PI_FCP2AE.jsxbin file goes to After Effects’ “Scripts” folder. Then, you need to run After Effects, go to File->Scripts->PI_FCP2AE, locate your XML (Version 3 worked for me) that you generated in Final Cut, and… voila.
I am using Final Cut 6.0.2 and AE CS3, btw.
Once again, thank you Dave, thank you Cow, thank you everyone! Damn! I’m so excited. I want to love the world and dedicate my life to public service…
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Hi Gary,
Yes, the issue had nothing to do with the Aja, as I know understand… at least, not directly. It was the corruption of Quicktime codecs. What caused them to go cuckoo is beyond me. But, at any rate, everything is alright now.
I’m using a 2.4 Ghz Intel core 2 duo with a 10.4.11 and 2 gigs of RAM.
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Thanks, Dave. I’ll try it.
I don’t care if I lose all the effects that are done in FCP, because I can quickly re-create them in AE. It’s the cutting that I don’t want to do in After Effects. 🙂
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Other question: What are you needing in AE that FCP/Color/Motino cannot deliver more directly?
Well… it’s a bit of a philosophical question. 🙂 The short answer is, I’m more used to After Effects, and it would take me a long time to get up to speed on Motion, Shake, and the rest of it, on the same level that I am in AE. Not that it is a bad idea to be comfortable with the former, but it will take time, and I’m under some deadlines.
While we’re on the subject… when I export files from FCP into Shake, let’s say, and then do some compositing voodoo there, then take them back into FCP timeline, — isn’t there some rendering involved? I mean, these files become standalone Quicktimes, so, am I adding an extra generation of compression in the process?