Scott Sheriff
Forum Replies Created
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You might try using png instead of jpg. FCP and Motion play well with these, you can have alpha channel if you need it, and the quality is better than jpg. If you need to have a large frame size for movement, it is less processor intensive than .tif
Not a magic bullet, but something to try.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Matt,
“I’ve rendered the sequence and then all works fine but then any small adjustment of the PSD and you get the same message when the playhead hits the file and again, you have to render.”Well, since you didn’t post the particulars of your source material and sequence settings, I’ll have a guess:
A. The background and foreground layers are different frame dimensions and codecs.
B. The background and foreground layers don’t match the sequence settings.
C. The .psd file is larger (in frame size) than it needs to be.
D. All of the above.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Craig,
“The ironic objective of Non-linear editing is the production of a linear sequence, a time line.”And so called linear editing (at least online style) wasn’t done linear most of the time. Since you were working on a striped tape, checkerboard editing was pretty much the norm since it was rare to have 100% of the necessary elements at the start of post.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Trevor
“My approach is more or less subtractive. I’ll put an entire interview on a sequence. Instead of using markers, I use the blade tool. I listen to the whole thing. As I find good sound bytes, I blade them into smaller clips. I move the good clips to V2. When I’m done with the whole interview, I copy all the clips from V2 into the main sequence of my video. I will then do the same process with the other interviews. I then end up with a bunch of good sound bytes”.Agreed, this is the best way to cut a short interview on an NLE. However, the original poster was talking about “building a story” which I assume is more than cutting down a simple interview. While subtractive editing is great for that, it is probably not the best way to assemble an entire show that will have other elements besides interviews, some of which will often need to be acquired later or created in post. And it is probably not the way to go if there is a large amount of interviews, that only a small percentage is going to be used.
Trevor,
“I’ll tell you getting a transcript and trying to edit from that is NOT a good idea. You can’t just edit based on words or sentences in a paragraph. Speech patterns make this really difficult.”I have to completely disagree with that. It may not be your preferred method, but it is a time proven method that works. And unless as the editor, you are also the producer, it avoids migration or hijacking of the original idea. Now if your a producer/editor the fluidity of subtractive editing might prove to be a useful creative tool and allow you to move your project in a different direction based on ‘where the material takes you’. But for some, that is not a good thing.
And it is entirely possible to edit based on words and sentences in a paragraph. We did it all the time on much less sophisticated gear than what is available now. Occasionally it is difficult, even impossible to cut exactly where you want, but thats not a reason to dismiss additive editing as useless. It just means you have to get creative to solve the problem.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
I have to agree with what Mark said about the process starting at the camera. Back in the linear and film days there was a tendency to not shoot enough. Now it seems like there is a trend of shooting (maybe) too much. I’m guilty of this myself.
But for me, the first step in post is to do a critical logging session, and do some serious discarding of junk before the first sequence is created. The other big part is getting really organized. I think knowing what you have and where its at. While this may seem like unglamorous grunt work, it is as much editing as what goes on in the timeline, and just as important.Mark
“Additive editing is more a European approach and Subtractive is more American, that’s a generalization.”Additive editing was also very much the style for linear online editing in broadcast for everything from promos to complete shows. Everything was TC logged, and you built from a script.
Additive editing isn’t practiced as much on NLE’s, but it is still a very useful and efficient style.
I prefer a hybrid additive approach, which I would call additive with ‘slop’. By this I mean to only put what is needed in the timeline, but with plenty of pad, which is trimmed up later.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Michael
“Can you recommend any sites or videos that shows you the radio cut building process. Its funny.. there are so many sites out for how to use the tools but really nothing for show how to build a real story.”That’s because it isn’t something you learn overnight, or by surfing a couple of web sites.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
So you have a big job due in a week and you think it’s a good idea to start updating FCP?
What are you thinking!And then by what you said in your post, it appears you have started this process (improperly) and it isn’t working.
Do yourself a HUGE favor. Do some reading on how to update your system before you start screwing with it. How to do this properly has been covered extensively on this forum, as have the pitfalls of those that don’t listen to this advise.Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Matt
“They’ve already added the pulldown into the 24p file giving me a 29.97 1080i ProRes file. ”Well, how can you do 2:3 in progressive?
From wikipedia on 2:3 pulldown:
The term “pulldown” comes from the mechanical process of “pulling” the film down to advance it from one frame to the next at a repetitive rate (nominally 24 frames/s). This is accomplished in two steps. The first step is to slow down the film motion by 1/1000. This speed change is unnoticeable to the viewer, and makes the film travel at 23.976 frames/s (or 7.2 seconds longer in a 2-hour movie).The second step of the 2:3 pulldown is distributing cinema frames into video fields. At 23.976 frame/s, there are four frames of film for every five frames of 60 Hz video:
23.976/29.97 = 4/5
These four frames are “stretched” into five by exploiting the interlaced nature of 60 Hz video. For every frame, there are actually two incomplete images or fields, one for the odd-numbered lines of the image, and one for the even-numbered lines. There are, therefore, eight fields for every four film frames, which are called A, B, C, and D. The telecine alternately places A frame across two fields, B frame across three fields, C frame across two fields and D frame across three fields. This can be written as A-A-B-B-B-C-C-D-D-D or 2-3-2-3 or simply 2-3. The cycle repeats itself completely after four film frames have been exposed:
And I’m guessing the pulldown was actually done at the camera. Why do people insist on shooting 24p if they know they are going to use this material in a 29.97 world?
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Shane,
“What’s going on? Are people not learning the proper way to do things before they start editing?”No.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com -
Still seeing plenty of Chyron’s on live gigs, pretty much the standard for sports. You might want to check out the Chyron forum.
Scott Sheriff
Director
SST Digital Media
https://www.sstdigitalmedia.com