[Nick Meyers]

i seem to remember Walter Biscardi was a Cinewave guy.
you could try sending him a PM,

nick

[Nick Meyers]

the non-manual approach is to speed the clip up, and turn frame blending OFF.
then FCP wil simply drop frames

speeding up to 110% would remove every 10th frame (although i haven’t really done the figures)
my guess is it would be a bit hit and miss, not entirely accurate.

it;s possible t do it manually, but not frame-by frame

lets say you wanted to very accuraltey remove every tenth frame.
on a track above your clip place 9 frames of slug, et 1 frame of text
copy that and paste at the end of itself
then copy those 2 instances and do the same, and keep doing this till you’ve covered the entire clip (wont take long).

now do a search for “slug”. you may have to use the find between in and out points function
find all, an delete all the slugs
select all the 1 frame text left over
hold shift and drag them down over the clip, overwriting every tenth frame, then delete

now take whats left of the clip, drag into the canvas, and all those bits will be edited back into the timeline.

nick

[Nick Meyers]

[Gabriel Spaulding] “I see where you’re coming from but slicing a clip is a fundamental editing requirement.”

then why not call it slice?
you’ve used that word a couple of times so maybe it’s the more natural term?

[Nick Meyers]

well, not necessarily.

if you’re mainly a shooter and only a casual user of FCP7, the the new FCP may well be even easier for you to use once you get over the fact that it’s different.
it’s folks who are wedded to a particular way of working who have the hardest time migrating.

nick

[Nick Meyers]

hi Claire

to start with i’d say that this might be best handled by an experienced FCP assistant.
and definately done in collaboration with the editor.

“I know, should have all been put into one project file, but it wasn’t. YIKES.”

not necessarily
FCP can bog down when the projects get too big, and long-form projects generally are split over a few separate projects.
on narrative features i like to have each days rushes dealt with in their own project for instance,
then transferred into the main edit project/s.

docs are different, of course, and you may not have so much materiel that it needs to be in more than one project at this stage.

– how much logging and sorting of the media has been done so far in FCP?
– is the media in bins, sequences or both?

“prepared to painstakingly review the most recent autosave for each project file clip by clip”
i’d say just work with the project files, not their autosaved copies

“But the project files come with:
Audio Render Files
Render Files
Thumbnail Cache Files
Waveform Cache Files”

off the top of my head, without seeing the project, i;d say delete all the render files.
you don’t need them. (hard to say for sure without seeing the project of course)
delete all the cache files you don’t need them.

“I need to streamline the files but am unclear about moving the contents of these folders.”

yes that’s pretty easy in FCP.
BUT be wary of breaking any master/ affiliate relationships that exist between bin clips and sequence clips.
or ask: can if be recreated in the new project?
this is where an editor / assistant would come in handy.

nick

[Nick Meyers]

“2. Position the camera for second scene with the screen in fullshot (So you cannot notice it is inside a TV)”

this will be a problem as you’ll lose your tracking references
(unless you have some within the borders of the screen)

i would start the shot with the edges of the tv on screen,
then do a blow up in post for the first small portion of the shot

nick

[Nick Meyers]

in general TVs are very easy to track as they have quite defined corners

as Andreas paints out, a black, or blank screen also gives you the reflections to use, which can be handy.
on a recent show i did, they had a green source that they played onto the TV. seemed to work, and you still get the stronger reflections.
a couple of shots had actors moving rather close to the TV, and picking up green spill,
so they had alternate screen which was mostly black, with some green blocks in the corners and the middles of the edges

in the example you posted, however, there’s a head that goes in front of the TV,
so maybe green or blue would be best in that case?

nick

[Nick Meyers]

“You can’t have shot A reveal shot B unless you shoot B “before” you shoot A.
You have to shoot out of sequence.”

nonsense.
this would have been true if the shot was to be completed WITHOUT compositing,
but in the example presented, the shots could have been done in any order.
as long as you’ve planned it well, as you point out.

nick

[Nick Meyers]

it’s a pretty simple track n mask
you track the content of the tv to the image of the tv.

as to the specifics of doing it in FCPX.. ?

nick

[Nick Meyers]

double check how you’re connected to the server.