Niklas Wikman
Forum Replies Created
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As I wrote, I haven’t really found an effect/tool that can do what I want. Sure, I do have Motion in my system, so I’d just have to fire it up and see if and how the thing can be done there.
Niklas
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No problems with the intrepeter.
I need help with the image at the left. How do I get the perspective and scaling?
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Shane Ross wrote: Footage used in that way is difficult to track. What I’d do then is make a new sequence with that footage, or put it at the end of the sequence (layered if you have several clips) and then media manage, and then rebuilt the drop zone with that footage.
I’m not sure how to do this? The Pane Glass PAL is used several times in the sequence. I’d be very glad if you could guide me how to preserve the sequence. (I did try to select the clip, and then right-click on it, selecting Media Manager. But MM tells me there’s no footage to deal with?)
I also tried to copy the one of the Glass Pane clip to a new sequence. Sure, all drop zones are there, but the clip itself does not show in the same way on the canvas. The text objects are missing and the clips fills upp the entire canvas, rather than being “floating on black”, if you understand what I mean?
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Using the settings in my previous comment, I notice that I have problems with a clip that uses drop zones.
The footage in the drop zones are missing, with no reference to which footage being used.The template I’ve used is the built-in “Glass pane open PAL”.
Besides that, I think I have it all covered (just as Shane, I unmount the original project disk and opens the new shrinked project file on the backup disk).
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Well, that’s pretty much how I try to do it, too. But with varying results.
Here are my settings:
Copy media
Include master clips outside selection
Delete unused media from duplicated items (what does this one do? De-selecting shrinks my copy further).
Use handles (3:00)
Duplicate selected items and place them in a new project
Some projects goes fine, others have issues when re-connecting (“An unknown error occured when re-connecting the media”) into the new slimmed project, causing FCP to crash, leaving the copied media on backup disk but an empty project file…
We shoot P2, so all our footage should have a reel name (ie the P2 card name, that is KORT 1, KORT 2, KORT 3 etc but in different offload folders. I have read that some experience trouble if the footage does not have a reel assigned to it. It seems that all assets does come along (stills, audio, graphics, etc).
Any ideas on this?
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Rainer,
Thank you for your patience – this is the first time I have two different footages that must reside in the same timeline.
Should I simply pick the ProRes 422 1080 encoder in Episode and give it a go? No other parameters to be set?
I can’t see anywhere in the encoder settings (in Episode 6) that it will be 1080i ProRes…
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Thank you Rainer,
I’ll convert the footage using Episode and then I hope I can just re-connect my media (not having to re-edit it all…)
But the DVCPro50 footage (with sign language is interlaced. I’m not sure it’s good idea to blow it up to 1080i…?
Niklas
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I do have Episode (both Episode 5 and Episode 6).
Exporting from FCP to ProRes would not be better, then?
What settings do you suggest I use in Episode, bringing a ref movie from FCP? And – ProRes could either be interlaced (upper/lower) and non-interlaced. What should I choose in Episode?
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Shane,
As always you are the man with the answers. You, da man!
Now, can it really really be that simple? 🙂 (I’m used to a lot of fiddling and time-consuming transcoding whenever you are to output anything but a self-contained ref movie).
from having used DVDSP for quite some years now, I really think using the built-in encoder is really not an option (other for a very quick-and-dirty DVD).
I have always used the BitVice encoder to encode my SD footage to MPEG-2. I figure perhaps I can give that a try. Not really that familiar with Compressor (I use it to encode to AC-3) but sure I will give it a try.
Should I perhaps check optional settings when encoding? Since the material will have a running time of 180 mins, bitrate (file size) is important here. The duration varies from 6 to 25 minutes.The last option would be to try the Episode software, which I use whenever I’m going to web from FCP.
Since the footage is progressive, do I have to worry about field order? My guts says no, but somewhere I have read that ProRes is actually upper field (and DV is always lower, we shot DV50 up until now).
