Rob Tinworth
Forum Replies Created
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It sounds like it could be a conflict on the Firewire bus. Are you using firewire drives? Are you using AJA I/O?
Rob
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Have you tried remapping the active area of the tablet so that it scrolls at a speed you’re happy with?
Rob Tinworth
http://www.1021.tv -
So does that mean that I need to deinterlace any interlaced material before I encode?
Rob Tinworth
http://www.1021.tv -
As your projects get bigger, the time it takes to save them takes longer, until the autosave begins to really slow you up. I open a new project with just my sequences in. You lose the ability to match frame and reveal the original clip in its bin, but you can always search for the clip, and this stops the autosave from interrupting the edit.
Also clear your drives.
Rob Tinworth
http://www.1021.tv -
I think it depends on who your main market is. Is the more important master PAL or NTSC?
The most important thing to avoid is double converting your material. PAL-NTSC-PAL looks terrible (as does NTSC-PAL-NTSC).
Given that the majority of your material is PAL, I’d recommend mastering PAL, and then converting to NTSC. Your 24p material will have gone through some funky converting for the final master, so you might have to consider eye-matching the 24p material into your final NTSC master.
It’s a pain, but I’ve been in your situation before – material sourced in PAL & NTSC for delivery in PAL & NTSC. I offlined in PAL, and then onlined the PAL and NTSC elements seperately, cross converted each, and created the PAL and NTSC masters seperately, so that each shot had only been converted once. A SERIOUS pain, but it did give me the opportunity to compare the once-converted material to the double-converted material. The difference is huge – the double conversion looks like you a put a guassian blur on your shots.
If it’s any consolation my current project has been shot 16mm25fps, 1080i59.94, 1080p29.97 & 1080p23.98, for delivery in 1080i59.94 and PAL.
Rob
Rob Tinworth
http://www.1021.tv -
You should note that Motion works better with only one display attached rather than two. But if you’re mainly in FCP, I rather like having a seperate monitor for the bins. All personal preference of course.
Rob
Rob Tinworth
http://www.1021.tv -
You can change where your keyframes are in time by using ‘toggle clip keyframes’ in the bottom left of the timeline.
I find this useful when I want to move scale & centre without dragging them individually.
Rob Tinworth
http://www.1021.tv -
It’s not a plugin, but I’d take a look at Motion. It integrates seamlessy with FCP, and the masks are a joy to work with – bezier handles, and all in real time. (and that’s only the very beginning of what you can do with it).
Rob Tinworth
http://www.1021.tv -
I think the anamorphic setting is bit hit and miss – I’ll get some files that get tagged properly and some that don’t. It doesn’t actually make any difference to the media file, so it’s not a big deal.
In your logging bin, open up the column ‘anamorphic’ (scroll across to it, or better still creata custom logging setting with ins, outs durs, tape names & anamorhphic). Then you can select all of your clips at once and click them to anamorphic with one click.
Rob Tinworth
http://www.1021.tv -
Problem sorted by changing the timeline settings/video processing/motion filtering quality from Normal to ‘Fastest-linear’.
1AM and we’re back in business…
Rob Tinworth
http://www.1021.tv