Samuel Frazier
Forum Replies Created
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Yes, it seems that the channel grouped export worked for me. Thank you for the help with that. The 2 tracks with DV now makes sense as well. Actually, I’m ‘offlining’ the project in DV25 and will do the online in the full 10 bit uncompressed digibeta when I upgrade from my Mini to a G5.
Honestly, I do try to consult the manual and have bought nearly every Production Suite related tutorial (DVDs, online stuff, books) that I’ve come across. The problem is I consider Mac’s manuals more of a reference and sometimes it’s hard to word exactly what your problem is, so it’s hard to look up in the manual. I think I did find the section you told me to look up though. The only problem is after reading their explanation of the -
No one ever seems to talk about audio when they talk about fcp weak points. This is a huge one for me. Sub frame edits, auto mini fades at cuts to avoid clicks from not cutting at a cross, buses, etc. Haven’t tried out STP yet, but the first 2 requests are definitely something you want to have before you go to a refining program.
I’d also really like to see the ability to use track fx, to be able to name tracks rather than or in addition to a1/ v1 etc, and to be able to save fx as presets and have them in a pulldown rather than messing around with a favorites folder. I’d also like to see more graphic layouts in fx rather than just sliders and the ability to work with the layouts of other programs in fcp. Seriously doubt I’ll see that anytime soon though.
Knock on wood, my limited experience with the media manager has been good so far. All I’ve done is make DV25 copies of 10 bit uncompressed digibeta material for an offline DV25 edit. Switching back and forth b/t the DV25 and digibeta has worked perfectly so far (done it probably 20 times so far). -
Thank you so much, that was really cool and I look forward to ripping you off-Imean learning from you example. I’m sure you were kidding when you wrote, “No charge this time…” But, if you’re selling Boris tutorials then I’m all over that. It was a little over a year ago I bought Red. I actually called the company at one point and talked to someone about the need for something similar to Adobe’s Total Training. He agreed with me and said it was in the works already. A year on now, I wonder if he was just saying that.
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Thank you very much for the feedback. I’m trying to do as you said, but I’m getting a little confused. I’m using fcp 4.5 and tried doing what you said in the sequence settings window. I changed the “outputs” in the sequence settings window to 22 (the maximum it would allow was 24), and made tracks 1 and 2 “dual mono” rather than stereo. FCP then automatically downmixed each track -3db. I left that as FCP suggested. I then got a warning that the current audio can not display that many outputs and would not be heard unless I downmixed to stereo. There was a place to check to downmix to stereo, but I left it blank. I then went to the timeline and adjusted the output of each track to a discreet output (i.e. track 1 to 1, track 2 to 2, etc). I then exported to aiff and things seem to have work okay. The levels seem to be the same on the exported clips as on the originals.
Also, I was originally trying to do what you described as your plan b (switching off the audibility for each track except the one you want to export then then do an audio only export). I think the problem I was having was that I hadn’t adjusted the audio output panel in the sequence settings window and hence at the time the only output option on each audio track was for ‘1&2’
Anyway, this sure is confusing stuff. At least to me. I think I’m getting a hold of it, but I was still wondering:1- Why the levels seem to be the same on the exported clips as on the originals after FCP automatically lowered them by 3db. Kind of counterintuitive. This option can be overridden and set to not lower at all. Should I do make this adjustment, or does FCP know better than I do?
2- I should rearrange things a bit and export the stereo tracks on my timeline as stereo tracks rather than dual mono? Does it matter?Thank you again for taking the time to help out a fcp newbie like me!!!
Thank you so much for the help and if there’s any tid bits of info you could throw my way about my remaining questions I would be even more in your debt
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I’m sure I’m missing something obvious, but I can’t find these tutorials anywhere on Avid’s site and google hasn’t taken me there either. Could someone please post me a link?
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Well, I meant fire inside the text, like making it transparent and having fire fill up the transparency. But, the text being on fire sounds even cooler. Don’t suppose you could point me in the right direction for both, could you?
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Sorry for the delay, been out of the country for a few weeks. But wanted to thank y’all for the help!
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Thank you all first of all. I did some more tests and found some interesting results. Andy, thank you so much for taking the time and giving me your recipe. I was able to use your method and create your letterbox plugin. It was a little tricky as my Mac has my mom’s name as the user and my name under FCP, so I had to save the file to the desktop then copy it into the plugins folder (after typing the password to give authorization). As a sidenote, I’d love to set things up so authorization like this was disabled, but one thing at a time. Anyway, the only problem I ran into with Andy’s plugin is it seems to be a 16×9 and I was looking to letterbox to 1.85. I should have mentioned that earlier, sorry.
I did render the whole project using the letterboxer plugin as described in option #2 and tested it against adding FCP’s letterbox filter (set to 1.85) to each clip. On my 1.42 Mini with 1 gig ram option #2 rendered in 21 min 38 secs. Adding the filter to each clip rendered in around 16min 20 secs. Also, I’m doing all this work using my “offline” dv25 versions of the material and will later do an online with my uncompressed 10 bit digibeta material. I’ve tested adding the 1.85 filter to each clip substituting the 10 bit stuff. Everything seemed to work fine. So, I’m thinking I might be better off just adding the filter to each clip, that is unless someone can give me a strong reason why I shouldn’t do things this way.
Thanks again for the help! -
Thank you all for the help! I find FCP tricky b/c it has so many modes and ways of doing things that it’s hard for me to remember them all and use the proper technique at the proper time, etc. Kind of like using Photoshop, if i don’t use it for a while I find I have to practically relearn the whole program.
Anyway, thanks again for all the help! I should be moving faster now. -
It’s a great primer for noise reduction and will tell you a lot of what you need to try to deal with your problem:
https://www.dv.com/news/news_item.jhtml?LookupId=/xml/feature/2003/rose0903_feature