Neil Patience
Forum Replies Created
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Ahh Human Centipad – thats the real reason for the magnetic timeline. It automatically snaps everyone together, all this avoiding clip collisions was just a smokescreen.
Apple will make huge savings on kool aid delivery as only the first in the queue has to drink and it filters though the rest.
Of course there will be the inevitable Centipad “Pro” version – hate to think what that will do.best wishes
Neil
http://www.patience.tv -
No you are not missing anything FCP does not support larger file sizes
best wishes
Neil
http://www.patience.tv -
Putting SD 4:3 into and HD sequence is always a huge compromise in terms of quality and the composition of the 4:3 shots.
The options are to use the whole 4:3 frame, which obviously leaves black bars right/left.
I have seen people use a graphic background to fill in the sides instead of black, or even use the same shot stretched, defocussed and darkened or treated as a background. (which I think can look ugly but thats purely a matter of taste and depends on the material)
The next option then is to further zoom into the 4:3, losing the top/bottom in order to fill the HD frame.
But given you have already zoomed into the SD just to get it to HD, further size increases are really going to affect the way it looks.
It also compromises the composition of the shots as you have to lose some combination of the top/bottom of the shot.
As I said its all a compromise but you just have to experiment a little depending on your style of programme and the quality of the uprez.
best wishes
Neil
http://www.patience.tv -
Getting rid of the noise totally may be an issue depending on the loudness/frequency of the noise compared to the audio you want to keep.
However you can use Soundtrack Pro to filter the noise.
This post covers noise reduction
https://library.creativecow.net/mcguire_sam/soundtrack_noise-reduction/1best wishes
Neil
http://www.patience.tv -
[Richard Cardonna] ”
How many of the said 2 million FCPX have you seen in top tier Broadcast?”None at all, I dont know anyone using FCPX in the broadcast world. To be fair FCP7 was and is in the minority. As I said earlier probably something like 70/30 Avid – FCP in London.
That said I have not done a single FCP freelance job this year at all. I just checked back and literally all Avid so far. I know of a couple of places that have retained FCP but added Avid so FCP is taking more of a back seat there.
I have no idea if my experience is indicative of any larger switch as yet as outside of that things seem to have stayed roughly as they were, but certainly in broadcast FCP’s loss has been Avids gain in the couple of intances where I have seen it happen.best wishes
Neil
http://www.patience.tv -
Have to say Bill’s experience mirrors mine here in the UK – never in 20 years of freelance editing been asked to edit with PP, never seen a suite with it. Probably 70% Avid 30% FCP give or take.
I mostly work in broadcast, I believe Bill works in other areas – so you would think between us we might run into a couple of these 2,000,000Again not disputing it, just never seem to see any – they must be somewhere ?
best wishes
Neil
http://www.patience.tv -
Almost certainly a media drive speed issue. You need to have fast external media drives to play multiple streams of HD. Firewire 800 7200 rpm drives can pretty much only manage a single stream maybe 2 at the most depending on format.
Once you start needing 4 or 5 streams of HD you have to look to raids and other interfaces like esata or fibre or thunderbolt etc etcbest wishes
Neil
http://www.patience.tv -
The reason is that the footage is two different formats/codecs.
You should transcode the T2i to ProRes LT and then ideally make the JVC footage the same and you will not have to render.
You dont mention what format the JVC camera is, so hard to advise exactly how to process that but thats the answer.
best wishes
Neil
http://www.patience.tv -
Its really a case of “how to format stills for HD video”
Since you want your final output to be HD then you need to make a sequence that is 1920×1080 29.97 or 25 depending on your TV standard.
(Perhaps use an HD ProRes LT easy setup)Your stills dont need to use those exact dimensions as you can use larger stills and then apply some moves without quality loss.
However dont use stills that are larger than 4000 pixels in any dimension or you will run into the “out of menory” issue.(If your stills are less than 1920×1080 then you will see quality loss.)
best wishes
Neil
http://www.patience.tv -
If your camera was only recording 2 channels of audio and you have listened to them both independently and they are the same then there are only really a couple of possibilities.
Either you were not recording what you thought on the night and somehow ended up with shotgun on both. (where were your headphones being fed from?)
Or there is some issue with your audio connections during capture and somehow you are getting audio 2 on both tacks but this seems much less likely.
What if you ignore FCP and just playback the tape/file of the rushes ? What do you hear then – that will tell where the problem lies. If you have only 2 tracks and they are the same there, it suggests you were not recording as you thought.
best wishes
Neil
http://www.patience.tv