Shane Ross
Forum Replies Created
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Shut it down. Give it a break. It doesn’t take any more power to boot it than to leave it idle.
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Look into Livetype. It has a BUNCH of special effects for text.
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This requires the use of a green or blue screen behind your interview subject. Then make sure they don’t wear anything blue or green.
Read this:
https://www.kenstone.net/fcp_homepage/basic_compositing.html
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This is the workflow you need to follow if you are shooting on film, telecined to tape, want to work the tape footage and output to tape yet also be able to produce a negative cut list.
Take the flex file and import it into Cinema Tools. Export a Batch Capture list from CT. Import the batch list into FCP and batch capture. Edit. Export EDL
When you lock picture you then need to use cinema tools to convert the EDL into a Cut list. How to do that I am not exactly sure, for I have not done it. All the shows I work on are just onlined on tape and aired.
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Was the final destination always to be tape? Then you should never have performed the reverse telcine to 24fps.
I work on episodic tv shows shot on 35mm and Super 16mm and then transfered to Digibeta and DVCAM. The DVCAM he use to digitize and work at offline resolution. When we lock picture then we online using the Digibetas. All at 29.97 fps.
If you were going to cut the negative, then a 24fps project might be the way to go, but not necessary. You can cut at 29.97, since the keycode information is all that is needed, and is unaffected if you work at 24fps or 29.97 fps.
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Well, if your footage is 24fps, you can’t lay that back to tape. Tapes don’t run at 24fps, so you will only get garbage.
What you might try is creating a new sequence that is 29.97 and drop your sequence into this, render it, then output it. It won’t play smoothly, as it is doing a poor man’s conversion.
If your final output is to be on tape, you shouldn’t be editing at 24fps. 24fps should only be used if you are printing out to film, or burning a DVD. Tapes run at 30 fps…unless it is HD, which runs at 23.98 fps.
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How many layers are we talking about here? By force of habit I work with eight.
A1 & A2 – SOT (Sound on tape) and Narration
A3 thru A6 – Sound effects
A7 & A8 – Music.So when you output, you set up the output so that Ch 1 gets A1 and A2, and Ch2 gets A3 thru A8. Plus, it is a good idea to have designated tracks for certain types of audio, so that things are willy nilly all over the place.
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Maybe because none of us have experience with what you are trying to use and/or do…
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Buy or rent a deck or camera capable of playing back DVCAM.
A nice deck that plays back and records miniDV and DVCAM is the Sony DSR-11. It runs about $1800.
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I’ll second the ADVC-100 / 300 suggestion.
Very solid. Not expensive.