Nick Toth
Forum Replies Created
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You could make it a DV-NTSC file if you go the DVD ripping route. I use MPEG Streamclip. FCP X does not like .dv files. I would make it a 720X480 ProRes file myself. I don’t know that you’d see much difference between the ripped file and the DV tape especially if the tape has dropouts or other damage the DVD may be the better choice. Good luck.
anickt
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It sounds like you have timecode breaks. FCP X is trying to work around them. They could be caused by the fact that a 10 year old DV tape is probably not in the greatest shape in the first place. Also, I would consider cleaning the heads really well on my playback deck. I have seen this happen with relatively new DV tapes and not just with FCP X. You could try dubbing the tape to a new tape if you have access to a second deck and then capturing that.
anickt
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Thanks Mark. I sent feedback to Apple about adding the ability to save user presets because I find it fiddly to tweak the shadow. I know I can copy and paste the attributes but it would be handy to have a pre-set when first starting out I think.
anickt
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In my experience it works great on some clips and not on others. I usually try it and see what happens. If the results are useable I’m done. If not or I want a more specific look, I correct manually.
Here’s what the manual says about Color Balance:
Color balance overview
Final Cut Pro includes an automatic color-balancing feature. When you use the color-balancing feature, Final Cut Pro samples the darkest and lightest areas of the image’s luma channel and adjusts the shadows and highlights in the image to neutralize any color casts. In addition, Final Cut Pro adjusts the image to maximize image contrast, so that the shot occupies the widest available luma range.
The video frame used as the reference frame depends on whether the clip has already been color analyzed:
If the clip has been color analyzed, either during import or while in the Event Browser: The analysis process extracts color balance information for the entire clip. Whether you add a portion of the clip or the entire clip to a project, the color-balancing feature chooses the frame within the project clip that is closest to being correctly balanced. This means that if you add multiple partial clips from the same Event Browser clip to the project, each clip is balanced based on analysis information for its own section of media.
If the clip has not been color analyzed and you balance its color: You can determine the reference frame for a clip selected in the Timeline by moving the playhead to that frame in the clip. If the playhead is on a different clip or you’ve selected a clip in the Event Browser, the clip’s middle frame is used.
anickt
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This sounds like a hardware issue. Have you been getting kernel panics?
Can you boot from an install disk or external drive? Have you tried Disk Warrior on your system drive?
How about OSX recovery since you are on Mountain Lion?
https://support.apple.com/kb/ht4718
anickt
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Go to macsales.com
Excellent install videosanickt
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Nik
The worst thing is it’s hard to troubleshoot from a distance when you just can’t make what the other person is seeing happen on your own system.
I have helped some people in 2 minutes using screen share when I found that either they were doing something which wasn’t explained in their description of the problem or they weren’t describing the problem accurately relative to how the software works.
All we can do is TRY to help each other I guess!
🙂
anickt
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I have been testing this. I cannot replicate Charlie’s problem. Also, the fact that the keyframes are “on top of each other” doesn’t matter. The reason is this. If you navigate to a keyframe, It will appear as orange in the inspector and the effected still or video will jump to it. If you then navigate to the next keyframe, even thought it is in the same position in the viewer it is in a different place in the timeline. Therefore you can make changes to it without effecting any other keyframe. Moving the keyframe in the viewer will change it’s attributes. Also, once you have set a keyframe and then move the playhead to a different point on the timeline, any changes you make will automatically set a keyframe. The”key” is that the playhead must be on the keyframe and it must appear as orange in the inspector. Otherwise the playhead is not on a keyframe and if you make any changes in the viewer you will set new keyframes. I have a feeling this is what is actually happening. The first step is to place the playhead, then create keyframes and continue until you have what you want. Use the animation viewer to change the timing by dragging the keyframes that appear there. I think keyframing in FCP X is actually more powerful and easier than many give it credit for.
anickt