[Nick Meyers]

this could also be an instance of the FCP audio frame rate thing…

before you do anything else check your FCP Audio/Video settings
make sure the checked sequence preset is 29.97

imported audio can take on the frame rate of the checked setting, and cause sync drifts.

so if your presets is set t0 30fps, chose a 29.97 one and re-import the audio.

nick

[Nick Meyers]

possibly you exported or converted with the wrong frame-rate?
from FCP export as Quicktime Movie, Current Settings

nick

[Nick Meyers]

yeah i don’t think FCP will get any benefit from extra RAM – it can only access 4 gig i believe, and you have 16 already.

I know that plug-in, it’s good, but very slow.
our solution was to run it on a bunch of macs simultaneously.
as it was a one-off job we had one machine with a license, and ran the others in demo mode.

nick

[Nick Meyers]

Shane:

“Interlacing, well, that you also see in FCP,”

if you set your canvas or viewer to 100% then you can see the interlacing lines.
a quick way to do that is to select the canvas or viewer, and then hold down the H key for a second or so.

you can’t step though the fields, though, like you can in some other apps,
so you don’t know if you have interlacing errors (fields in wrong order) unless you output to a broadcast monitor.

nick

[Nick Meyers]

i have it.
i’ll get it to you.

n

[Nick Meyers]

i agree w Bouke, outline is better than drop-shadow.
most subs use outline.
also i’d try going bold, or a font that’s less delicate.
and I’m wondering if they extend too far across the screen, they are easier to read if they are concentrated.
i found an example here:
https://www.sbs.com.au/inlanguage/services/subtitling

ok, here’s a better one, same source:

these are for TV, so too big for cinema, and the yellow is horrible in theatres!

but you can see how they don’t extend too far across the screen,
the idea being that you don’t want your eye to have to travel too far.

nick

[Nick Meyers]

options in FCP7 are not great
you could look at CHV motion tracker collection

FCPX has something i believe, Slice-X
then there’s Resolve, of course

Paul Crisp made garbage mattes for FCP with a simple position controller, so only one point to keyframe
i can’t see them online anymore, i could send if you’re interested.

nick

[Nick Meyers]

[Christopher McDonell] “I have to enter new x coordinates if I want it justified to the same left margin”

thats not right, you must be doing something wrong, (or I’m misunderstanding?)
i just made a left justified title with a shot name,
copied it, and made the name longer, and it maintains it;s left margin.

this is how i do this sort of this, by COPYING a saved template.

so set up a city-name title to be the way you prefer.
copy it into a new timeline (called “titles” or whatever), and NAME the text generator CITY
next time you need to place some city text,
go to your titles sequence, copy the city text generator, paste it into your edit sequence
then open it and edit the text.
the style will remain.

but if in future you need to isolate just the city text, you’ve named it “City” so a simple find in the timeline will jump you from one to the next, and a find-all will find them all,

a couple of notes: using the sequence to sort them is better than a bin.
the clips in the bin can become master clips, and if you re-name or colour one, they all change.
ok that was just one note.

hope that helps
nick

[Nick Meyers]

so Limit Effect IS working, but you have other parts of the frame with the same colour?

in that case you need to mask off the area you want otto affect.

double the clip up onto a second track, and simply crop this new clip down to the lips area.
if cropping is not sophisticated enough, then use one of the garbage matte filters available in the “Matte” effects.

hope that helps,
nick

[Nick Meyers]

maybe you just have to start tweaking the colour, saturation, and luma control in the limit effect area

you can grab and move the selected area itself (probably most useful with the colour)
and you can grab and move the borders around the selected area.

click the key button to see the selection in the viewer as pure black or white,
then fine-tune the adjustments.

nick