Oliver Peters
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There are settings in Compressor 2 to do this, but it’s going to be terribly slow. This will be a bit faster if you use 1-pass CBR instead of the default (2-pass VBR), but HDV decoding is happiest on a dual 2.7. You might try a 2-step approach. Export an FCP movie (not self-contained) and use Compressor 2 to generate an 8-bit SD uncompressed QT. Then use BitVice as you normally would. Might be best, since BitVice is slow to begin with and everything generally works faster when you are using uncompressed media.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
You must rasterize type and merge layer effects like drop shadows, glows, etc. Easiest way in a single step is to make visible those layers and effects you want to see and “save as” PNG format. Forget alphas. The areas where you see the checkerboard transparent BG in Photoshop will be keyed out in Avid. Import into Avid with alpha set to invert.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[OneMatchFire] “We are looking at getting Smoke for finishing and cutting on Adrenalines and/or FCP 5 (working with HD, on HDSR, HDCAM or DVCProHD, depending upon which project)……
My question is on conform. How does this work. …..
Also, anyone use Clipster instead?”Rachael,
Although I don’t cut on Smoke, I’ve looked at it pretty thoroughly for magazine reviews and it appears that these are the options. There is EDL and OMF support. I’m not sure how solid the OMF transfer is from Avid to Smoke, but I’m sure someone on the Smoke forum can fill you in. In the newest release, they’ve added FCP XML support. This means you can go from FCP to Smoke; but you could also, for instance, go from Avid to FCP via Automatic Duck and then from FCP to Smoke via XML. Not sure why you would do that, but it could be helpful.
In all of these cases, the metadata for effects doesn’t come across completely and everyone has to take a “best guess” approach. AD and Autodesk both have documentation that will tell you which effects and to what extent complex effects will be transferred, but you can assume that all composites, color-correction and titling at the very least will have to be rebuilt.
I’ve also looked at Clipster. It seems pretty solid, but targeted at film finishing, i.e. DI conforms. Is that part of your business model? It doesn’t offer the kind of sophisticated effects tools as do Avid DS, Smoke, Quantel eQ, Sony Xpri and so on, which makes it pretty useless if the system does work in a client-supervised environment.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Wierd! My only thought is that it might have something to do with the 8200s. Do you have the option or opportunity to test it on another platform? I’ve had good luck with the HP 4100, which technically isn’t the recommended machine, but one of the best out of HP. Also, what about back-reving to an earlier version of the software? Is the 8200 a dual-processor machine? Maybe that’s part of the issue.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[Kevin Monahan] “”Lift” and “Extract”? What system are YOU editing on?”
At least I’ve resisted the temptation to completely remap the keyboard!
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[MHMKenny] “Every AVID related piece of equipment in the suite has been replaced 3 times including the HP 8200’s.
We had the room’s power tested over a 24 hr period- it’s fine.
Avid Tech Support cannot come up with a solution as to why no matter how you go about it, Avid Express can’t perform a simple insert edit without putting 5 frames of black @ the in point.
Did I mention Avid Tech Support says absolutely in no way should the Express Pro be networked? In this day and age?- come on…”MHM,
I’m not going to plug one product over the other, but simply say that your issues are EXTREMELY UNUSUAL. There’s something very wierd going on, which has nothing to do with the Avid side of the equation. I’ve put in multiple Xpro (Mac and PC) and FCP sites that all work fine without these sorts of issues. These include Xpro systems that live in a networked environment. Given that, an FCP set-up in your building may be more stable, but there is no guarantee. I can certainly see why Avid is scratching their head. Have you tried this config in an entirely different location? If so, do you have the same issues? Are you on the internet? Are you running any antivirus software? What sort of drives are you running for media?
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
[mus man] “Now I’m trying to go back and shorten up things a bit, but find the only way I know to handle the changes very tedious. I’ve already added music to most scenes, so when I shorten a clip and try to delete the space created b/t clips FCP will not allow it. If I lock the track with the music then I can perform this action, but then the rest of the clips on the track with the music go out of sync”
Mus,
The main rules to remember in FCP is that “lift” and “extract” functions honor the linking and track Auto-Selection settings. A-S are the little square icons on the left of the timeline by each track. If you have several tracks within the area you have marked, FCP will delete and leave a gap if all of the tracks don’t have A-S enabled. If only one is enabled, you will have a gap that won’t be closed, if linking is turned on. If you have all the tracks with A-S enabled, then you’ll get an “extract” – deletion and the gap is closed. Remember that under these conditions, the big delete key (next to +) will act as a lift, while the del/rub-out key (under the help key) will extract. To override the A-S functions, lock the track(s).
So for example, you have 1 video track, 2 dialogue tracks and 2 music tracks. You want to make a trim but not cut out the music at that spot. Turn A-S on for all tracks, lock the music tracks, mark in/out and hit the del/rub-out key. Your picture and 2 dialogue tracks will have the piece delected and they will slide to the left to close the gap. Alternately, you could turn off A-S for the music tracks instead of locking, since they aren’t linked to the video or dialogue clips, but that’s just more keystrokes.
Hope this helps,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
I have been able to import FCP-captured DVCProHD files into Xpress Pro HD as long as they have a .mov extension. They do have to be “re-wrapped” as MXF files, so there is an import/conversion process, but it doesn’t appear to degrade the image. I’m not sure about Adrenaline, though. Xpress Pro HD supports direct capture via 1394 of DV25, DV50 and DV100 (DVCProHD) footage.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
Syntax,
The best way is to hire a knowledgeable freelancer for a day or two who is familiar with both apps to show you the differences. Also how about a training course?
You might also take a look at the Flash tutorials on Avid.com for the AvidFree software. These are fairly simplistic but are the same functions as you move up the product line. This might give you a good idea of how it all works.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com -
The Alienware laptop will run Xpress Pro. Check out the June issue of Videography for my review of it. The problem I had was with the audio system. It uses a Realtek surround card and that doesn’t work with XPro. I believe that has now been fixed by Avid, so check on the support info. It did work with Mojo, though.
And yes, FCP has a 3D DVE filter. It does Z-rotation and corner pinning in the motion tab and you can add a 3D DVE filter in addition to that. I personally prefer the way the Avid DVE works, but basically in FCP it is like After Effects. The Avid advanced keyframe model is extremely weak and is an attempt to create a filter-stack function which is totally lacking in Avid compared with most other modern NLEs. That’s because Avid effects are built around nesting, which made sense in the early 90’s.
Sincerely,
OliverOliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com