[Peterson]

one of the things still missed from avid days (along with clipboard!). what I do is click on clip in timeline, select ‘remove subclip limit, then hit F again, now it reveals the entire master clip with the (former) subclip indicated by the in/out, not in the timeline but in the viewer. In the bin the subclip will have returned to the master clip from which it came, but should still have the in/out there to indicate its former margins…

[Peterson]

David,

In reading this & a few other posts you’ve made on the topic, you’ve remarked that you have no problems with the motion tab for controlling moves on stills… the problem I run across is when ( & usually only when) applying the ease in/out to the position key frame, which must be done not in the motion tab but rather directly on the canvas. The problem is that the default ( & I don’t know how to change this) seems to be for a longer ease in / out than the clip allows unless it is over 12-15 seconds long, resulting in some bongo boingo. But when going in to try and sfix this, control of the handles is often difficult for these keyframes as either the start and end are often off screen & require shrinking the canvas too much to be useful. Am I way off here? A tip or two would be great!

Thanks,

Peter Tooke

[Peterson]

Thanks for replying,

Yes – I mean Quicktime self-contained file, albeit created with Media Composer compression…
Thing is, I have an old powerbook laying around running both OSX and OS9 in Classic mode…
and with the Avid OS9 codecs installed in the sytem folder but still no go –
Perhaps omething in the upgrades has rendered the old QTs unplayable.

I’ll try the import to Efter Effects-

thanks again,
Pete

[Peterson]

Hi Chris,
thanks for taking up the thread again and offering your advice – it is certainly welcome.
And your reply partly answers my question… i am in the final storytelling phase of a long format project and soon must decide the best strategy to maximize client’s footage quality.
A mishmash of original dv ntcs 4×3 and 16×9 anamorphic shot at 24p… plus the usual suspects in terms of stock archival ( almost certainly all 4×3 29.97, from dv and beta sp & most likely to be delivered to me on BetaSP tapes). All of the original dv footage was ingested via firewire before i came on board. She wants the 16×9 look, so everything that wasn’t shot anamorphic has been scaled up to fit ( yikes: 33%) and so soft from the start. I may try talking her into something in between, but that’s another issue.
Anyway, after all of that preamble – a lot of the footage in interviews and so forth where i want to land on the character needs some stabilization, which was what my original post was about in this thread. I wanted to avoid a pass out of FCP to a third party stabilizer and then back in because this in theory degrades the DV material as opposed to doing the work inside FCP, where supposedly only one render pass will occur. But if do decide to go outside of FCP to After Effects, i have heard that sending out an 8 bit file will handle the journey better..?
Is this your experience ( and not only for graphics, but for the actual video file itself)?
Anyway, just plotting a good end game strategy for final output, which will no doubt be mastering to some SD tape format tbd.
thanks for bearing thru all this,
hope i can return the favor some day-
peter

[Peterson]

Thanks Chris-

reading another thread you participated in regarding converting DVmaterial to either 8/10bit for further effects/processing/color correction… does it then also make good sense for me to do the same ( convert to 8 bit timeline) before exporting clips to AFX for stabilization? Exporting an 8 or 10 bit file a good way to avoid some softness from the new stabilized clips( in which there will inevitably be some scaling) ?

best,

peter

[Peterson]

wow, good heads up but gotta say that seems nuts… why in the world would it analyze anything other than what you want it to? if this really so, there must be a workarond for this, like breaking a clip in timeline into a separate file.
Also – do you export the clip outside of FCP and into Shake ( ie a render out and back in) or does it operate within FCP ( everything gets one final render pass…)??

Thanks!

peter

[Peterson]

Good advice – does it make any difference that the client’s version is 5.1 & not 5.1.4?

Thanks –

peter

[Peterson]

Thanks to all for your considered and knowledgeable replies!

[Peterson]

david, thanks for the reply… I know too well it is pilot error, this pilot in particular. I did of course do all the rendering I could to avoid the issue mentioned & like I said, no color bars presented themselves, nor does any rendering ‘take’, something I tried just to be sure.

I am on a project on a client’s system and have not come across this problem before. The second question about the identical headine scan with zoom / move being sharp in a 720×486 NTSC 601 timeline and not in a 720×480 DV NTSC timeline is likewise confusing…I no doubt have overlooked something and will continue to hunt

best regards & thanks again

[Peterson]

Thanks for the courtesy of a reply-

my confusion, I typed in LaCie 2TB raid and came up with the one for about $1500, which is the swappable drive configuration.