Russell Lasson
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Check out issue 4 of the creative cow magazine.
There is an article that explains the best way to do it. The article is called:
How to Preserve Detail in Compressed Files
Aharon Rabinowitz shares some of his hard won secretshttps://magazine.creativecow.net/downloads.php
-Russ
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In my opinion, the factor that impacts the “expensive look” the most is the director of photography.
DPs aren’t created equally. You really need to find one that can give you good footage to work with. Great colorists are partly great because they work with great footage the comes from great DPs. Even with low end cameras, a great DP can make a world of difference.
-Russ
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I don’t know of any way to move the files back to where they came from.
Your best bet might be to move all of the files into one folder and then use media manager in FCP to carefully reconnect your media.
Then you could use media manager to organize your folders again.
-Russ
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You might try trashing all of your renders with the render manager and trying again.
If that doesn’t work. Trash your prefs.
-Russ
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I just barely had a similar problem with some sequences in a project.
This is what I did.
Closed all sequences in the project so no sequences are open.
Save the project. (You might as well use Save As as I’ve hear that can help too).
Restart your computer.
Open the project.
Open a sequence that has having a problem. For me, it opened!
Good luck!
-Russ
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We’ve also used shake for this and had great results. But if you’re not familiar with shake, you need some time to learn what you’re doing.
We also use the Nattress plugins and they work as well. I really like his smart deinterlace filter for this type of stuff.
-Russ
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With 24 Psf you can just use a 23.98 progressive timeline.
So with 29.97 Psf, I’m guessing you’d just set it up for 29.97 with field dominance set to none.
Someone correct me if I’m wrong.
-Russ
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[walter biscardi] “It’s hosted by an absolutely amazing fellow who has a real grasp on the Color interface. His name eludes me at this time, but go have a look at his handsome mug. “
Let’s see… I didn’t host it. Who else could it be? 🙂
Just teasing Walter. But while I’m bugging you I’ve got a question about the DVD. Do you cover how to get the curves section in the primary room to be useful? Every time I play with it, the image starts to break up. It’s like way overly sensitive!
One more thing. Would you consider the DVD for beginner, intermediate or advanced users? (or some strange combination of the options)
Just one more one more thing. We should get someone who isn’t familiar with Color to write a review for the Cow. Just thinking about more ways to get the word out.
anyways
-Russ
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I’m assuming that you’re referring to native AVC Intra support for native editing. Not sure.
I’m not sure many people are expecting a major feature update with the new operating system. When FCP does support it natively, it should probably be an intel only feature like AVCHD or ProRes.
-Russ
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I’d go with a MacPro if you can. A MacPro also gives you the option of adding a capture card for video in and out. This is great for a video monitor or digitizing HDV to something other than HDV.
There are several other benefits that I won’t mention. But that said, we have iMacs that we do edit on, but it’s mostly offline editing. We use our towers for the uncompressed stuff.
-Russ