Shaun Knapp
Forum Replies Created
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Lame! I’ve been editing, dropping jpegs onto a time line above the video, had the “green” render bar above them for the first third of the project, now all of a sudden, anytime I drop any of the same jpegs to the timeline I get not a green bar, but red. I haven’t left the computer for the last 4 hours when all this has transitioned, so it is a bit bizarre.
Maybe time to reboot the mac? Who knows. I haven’t made any changes in the sequence settings, so this is odd.
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The only issue I see as potential problem would be syncing footage straight from the camera (raw H.246) versus that which would be brought into FCP with Log and Transfer.
I need to send them the raw stuff, as it is doable by DVD, whereas if I uncompress the stuff to ProRes 422, that is vastly much larger and gets to be impractical to mail to them on DVD’s.
Will things work fine do you think if I just “import” the raw files and sync them with audio, rather than doing the Log and Transfer, then send them the FCP Project file?
Thanks for this. Glad you’ve had experience with it.
For a large production house, I’m surprised they don’t or have refused to just buy Pluraleyes themselves.
Shaun K.
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“It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to rack and ruin without fail. It is a very grave mistake to think that the engagement of seeing and searching can be promoted by means of coercion and a sense of duty.” — Albert Einstien
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I just rendered out a copy at full 1920 x 1080 using the H.264 codec to see what it looks like in relation to the ProRes 422 version I brought back into FCP. To my surprise, and at that high resolution the same look persists. I hadn’t noticed it prior, when I was rendering out of After Effects at half that resolution. It hid some of this artifacting from my view and attention. So, I think I’m as good as I’ll get.
Great workflow solutions, thanks for that script, pretty great stuff. And keying out with Magenta Solid behind the subject will be a good thing to do.
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Opened up in Quicktime it looks essentially the same as FCP, though I realize FCP doesn’t give the full quality playback within the editor itself.
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One other question for you guys. I’m wondering my best options.
I have footage that was filmed (never again will this be the case) with a diffusion filter to lessen wrinkles in the 71 year old client. A diffusion filter is great—until of course one brings it into post to have green screen background removed. Keylight in After Effects did the job most wonderfully. It looks stellar.
In the script from Popcorn Island, I bring the footage from FCP into After Effects. I remove the green screen there magnificently, with my added background there as well. I then render from AF in ProRes 422, import it back into FCP and relink the audio (which is superior to what I can do audio wise or with ease in AF, it seems. But, that footage brought into FCP has some degredation that is disturbing. I’m not happy about that fact, sort of bummed out over it. I can see a bit of a halo around my talent in that ProRes footage, which is yet there when I render that with the audio to a final video from FCP.
Is there a better work around on this? SHould I invest in the Keylight package for FCP? I hate to do so when I have it already in AF. The problem I am complaining about with the halo and decredation is not evident in other formats out of AF, such as compressing it to a Youtube HD size, but of course I don’t have the full thing with audio done in that timeline, and that is the reason to bring it back into FCP for final sweetening.
Any thoughts on this would be appreciated. I saw another post asking the difference between Keylight in FCP or AF and if there is a difference. I wish my Keylight in AF would work in FCP, that would seemingly solve my problem, though what I’ve had in suggested workflow here already has been great.
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Before I give this a go, my client is finalizing her decision on a background.
One other suggestion for the workflow I seek. It would be the fact that I’m using Pluraleyes plugin to sync up the camera audio with the much superior audio captured with another mic system.
How will this play out in bringing this back into FCP? I might need to do the sync again, right? And in importing to After Effects, I best keep the audio file connected with the footage? By default, that dialogue box is set to “No” don’t import the audio.
Shaun K.
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“It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to rack and ruin without fail. It is a very grave mistake to think that the engagement of seeing and searching can be promoted by means of coercion and a sense of duty.” — Albert Einstien
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Oh man, you guys are awesome. I’ll get on this process now. Pretty sweet to have such a workflow. This is sweet indeed. I love the thought of not having to render out the clips multiple times. Thanks a ton for this. I’ll let you know the results. I’m also delighted at this option, as my client prefers her hair in the After Effects green screen removal, as opposed to the FCP key which isn’t as good and leaves her professional hair style a bit less than ideal looking.
Shaun K.
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“It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to rack and ruin without fail. It is a very grave mistake to think that the engagement of seeing and searching can be promoted by means of coercion and a sense of duty.” — Albert Einstien
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Okay.
Now too, I need to get my head around which codec to use. ProRes 422, I see, won’t render with an alpha channel included, but that must be rendered seperatly.
I have some products to bring in and put on screen as well as text in all these clips, so would you have that included in that first rough cut for export, or attempt to bring it back in after the key from After Effects to add that final detail of text and other graphics? If so, what codec would you use?
Clients have no idea what technical hurdles have to be taken into account on production work.
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Mike,
Thanks for the tips. I was able to run the “Preflight” thing that brought me from text box to text box that had the problems. Some were hidden with nothing by hard returns in them anyway. I just deleted them.
Shaun K.
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“It is, in fact, nothing short of a miracle that the modern methods of instruction have not yet entirely strangled the holy curiosity of inquiry; for this delicate little plant, aside from stimulation, stands mainly in need of freedom; without this it goes to rack and ruin without fail. It is a very grave mistake to think that the engagement of seeing and searching can be promoted by means of coercion and a sense of duty.” — Albert Einstien
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My issue, it would seem, has something to do with nested sequences. After copying all my bins to a “new project” and saving it, I opened all sequences—accept 3 that were denied, giving me “operation not allowed” error. So, I deleted those and I’m remaking them. The problem arose anew when I added a nested sequence to a timeline and began working with it, dropping a cross dissolve on that nested sequence popped up the error anew with the red screen in the canvas.
Hmmm, I best stay clear of that nested sequence thing. Somethin’ just ain’t right about it.