Nikolas Bäurle
Forum Replies Created
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In my experience it works faster. A few beach balls every now and again, but nothing out of the ordinary.
“Always look on the bright side of life” – Monty Python
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Actually, I figured out I simply needed to make a clone layer of my particle trail, and retime it in Motion.
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Check if desktop video is set to NTSC. Sometimes it crashes and defaults to NTSC for some reason.
“Always look on the bright side of life” – Monty Python
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You will not have any problems with DSLR footage. You simply need to click on the optimise footage option during import, so the H.264 will be converted to AppleProRes. if you’re not doing grading or effects you don’t need to optimise, X handles H264 quite well up to a certain point but with ProRes you’ll have a very smooth experience.
I would recommend getting a maxed out MBpro. Quad Core i7, as much RAM as it can take and the fastest GPU offered.
I use an LG for my external monitoring at home, but any name brand should work.
“Always look on the bright side of life” – Monty Python
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You could build your credits in Motion. Then you can place the logo where you need it to be and animate the entire block.
“Always look on the bright side of life” – Monty Python
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I’ve always had very good results exporting to youtube directly from FCPX. But youtube doesn’t always show the full quality depending on the internet connection, at times it defaults to a lower quality. Check the settings in the viewer.
“Always look on the bright side of life” – Monty Python
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Depending on how much you slow-mo the flutter is normal, going under 30% will give you that effect. Frame blending can compensate some, but will start looking ugly at a certain point. You should try Twixtor to smooth that out. I use FCPX which has the option of optical flow that works very well.
“Always look on the bright side of life” – Monty Python
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But isn’t it true that on all levels cameras are becomming more more intuitive to use, and are also easier to handle. instead of changing a film role and watching out that no light ruins the footage you can simply stick a memory card in your cam. Even on the well trained professional level it is more relaxing, isn’t it?
I remember the time back at UT Austin in 1996 when we had to learn with Bolex 16mm cameras. Of course it was fun handling the filmroles, and editing on a Steenbeck was a trip, but when you spend 3000$ of roles and developing the footage and get a call from the lab telling you that your negative got scratched and that you have a thick black line on all your footage because that Bolex we were handed wasn’t repaired correctly, then you really hope that someone invents a cam that makes it easier.
I see young professionals still interested in making high end products and wanting to do things manually, I don’t think that will ever change. But now its possible to get very good results with a very small budget, and as a pro, if I know how to use that iPhone correctly it becomes another tool in my arsenal I can use for a certain look, or another perspective.
“Always look on the bright side of life” – Monty Python
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Blu-Ray doesn’t seem to be that popular. At least here in Germany DVDs are still rented and sold more often. Even for my industry or demo tape clients its either internet or DVD. I just finished editing a series of clips for the Protestant Church in Germany, shot in HD. They needed a h264 mov and a DVD.
I’ve only burned some of my own projects to Blu-Ray, but I have never been asked to deliver one.“Always look on the bright side of life” – Monty Python
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You should be able to force-relink newly converted footage as long as the length of the clip is the same. But since you are having issues with the in and outs with the exported clip it seems that your original mov is screwed up, I’ve never encountered a problem like that. If you relink to the new mov it could screw up your edit. I would duplicate the project and try it out. I doubt you’ll get a clean edit out from your timeline as it is now, no matter what you export
In my opinion the setting you are using is correct, at least I’ve used it a few times and even played out to DigiBeta and delivered files to TV.
However if this is going to TV as a file you need to check if ApplePro Res is an accepted format in S.Africa. If they want something else like DV50 it would be better to edit it that format. In Germany the private TV stations started asking for ProRes about 2 years ago, and all the other ones can handle Apple ProRes as well, but its all HD now.
Shane thinks that DV50 is a better choice. Perhaps he knows something I don’t.
“Always look on the bright side of life” – Monty Python