[Neil Goodman]

im am seeing this same issue, all of a sudden.

Any one know a fix besides being off-line which isnt possible.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

thanks. I was trying this but didnt realize you have to keep stepping in and stepping in until you get to what looks like the original clip before spectramat was on there. Color corrected in there and its all good.

Does this same technique apply to avid fx? should i keep stepping in and stepping in until i get back to the original, then apply the blur effect for example ?

This is the first time im trying to do any real compositing in MC, as ive always used AE, but im finding i get much better keys with spectramat then with keylight in AE, and its all realtime until i really start piling on things like shadow.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

[Bill Davis] “Cuz it continues to sound to me like the drone of people who don’t like it because they never actually explored it enough to figure out how it might actually be extremely useful.”

I just finished the Lynda and Ripple training on FCP X, after poking around for months, i figured lets see if this thing will grow on me.

I dont hate the magnetic timeline, and i see its advantages in CERTAIN situations, but for most situations it seems pointless to me. After doing all the training, i realized i like the old way, i like tracks and knowing exactly where my clips will land and being able to organize as such. I like having complete control, and i feel like the magnetic timeline assumes you dont know what your doing, and guides in you in staying in tact. The majority of us dont need that.

That said, if someone asked me to work in it, i would and now feel a bit more confident in accepting a job in it, but im sticking with MC and FCP 7 for the unforeseeable future.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

How about something in avid fx?

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

i havent tried this before, but cant you apply a paint effect and use the transfer modes from within there ?

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

[Shane Ross] “..Aaaand…it is best to IMPORT Quicktime files like H.264 and ProRes as you have better control over the color space:

https://forums.creativecow.net/thread/45/877605
“

everything i’ve read and in my experiences, this is quite the opposite for me.

When i import, say a h264 from a canon 5d, using 601/709 the files just dont look right, really contrasty as if someone already tried to do a poor color pass already.

If i link via AMA and transcode, the files look exactly the same and takes less time than importing, then i export a same as source or quicktime reference file as RGB and it looks just as it should.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

[Shane Ross] “Not in my town (Los Angeles). People are flocking back to Avid. Adobe is gaining some ground, taking over in a few smaller areas that used to use FCP. Well, “flocking” is a strong word. This town moves slow when it comes to editing systems. They change only when they are forced to, so people are still using FCP 7…still using Avid Meridians and Express Pro, still using Avid MC3. The amount of seats that have upgraded to Avid MC 6 are minimal. Over time they will. L.A. is a big ship, and it takes a long time (years…many years), for it to turn around.”

Yup, were still on MC 4 for the most part, no ones talking about changing anything anytime soon, cause it works great for our mostly XDCAM workflow. The web counterpart is still rocking FCP 7 and there havent been any talks to going anywhere else yet. If it aint broke!

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

I have it on a old mac pro running 10.6.8. at work. Havent run into any show stoppers yet, although my Imac i7 feels a little bit smoother.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

i never knew you could open the scopes in source/record mode, i like it via a floating window ala FCP 7 also, and if they took it out, thats lame.

Neil Goodman: Editor of New Media Production – NBC/Universal

[Neil Goodman]

go up to the workspaces tab in the menubar and select – color correction. Its a dedicated mode.

Neil Goodman: Editor of New Media Production – NBC/Universal