Russ Froze
Forum Replies Created
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I’m sorry I think I misunderstood your last question or lets say I’m too dense to understand what you are asking. Could you re phrase the question please.
Russ Froze -
Track Motion will allow you to move the timecode around and the plugin at the event level (pan crop) is where you will find the settings for the time. The timecode generator counts from the first frame of the timeline.
Let me know if you need more info.
Russ Froze -
I have the same suspicions as Mr. Rofrano. The culprit is probably in the source files.
Russ Froze -
This magic is not performed at the event level (Event Pan/Crop), it is invoked at the Track Level (Track Motion). Track Motion can be found 4 icons to the left of the exclamation mark. If you hover the mouse over each icon the tooltip will tell you what it does. Open the Track Motion for the Timecode track and you can move the timecode to where ever it’s best suited for the shot. Click on the track composite mode (the green icon below the red gear and to the right of the slider), then choose 3D Source Alpha from the menu and you will find a new dimension is available in the Track motion window.
Russ Froze -
Hi, in the track compressor is there not a preset ** [Sys] Limit levels to -6 (hard limiter)** ? This has done well for me in the past. IF you have Pro 13 it comes with iZotope nectar.
Russ Froze -
I can’t think of a way to render the multicam view however one way to accomplish the desired task is to build yourself a template you can drop your media into. This works well for the video portion of the take(s) but what to do for audio that is another matter. I have built an example, can be downloaded at https://f1.creativecow.net/file/8163/8163_takeeditor.veg.zip
Russ Froze -
Used to drive me nuts those lines after an intensive roto session. FInally found the answer, simply move the effect to the left of the pan/crop or another way to say it is to keep the mask (pan/crop) at the end of the effects chain (to the right).
Russ Froze -
Can you open it in quicktime?
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Well the odd things is that frame rate is the typical output of a interlaced signal from 29.97 Interlaced so that it will display on Television or monitors that need an interlaced input. Interlacing or deinterlacing footage is important if you are concerned about image quality. Since the project is to be re-edited and take a visual hit by rendering it yet again it’s best to have the cleanest presine footage to begin with. Watch Eric D Francs quick overview on interlacing https://vimeo.com/1513146.
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Try using a .mov (Quicktime 7) wrapper and encode Avid DNxHD. Now you are absolutely certain that your file is 1920×1080 59.94 Progressive?
Russ