Simon Hustings
Forum Replies Created
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There is a small triangular shaped button, bottom left of your timeline, click it and deselect “Show Audio/Video Clip names”
Simon
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First off, I would suggest trashing you preferences. Can fix any number of random problems. Search the COW for instructions on how to do this!
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It depends on how much material you intend to capture, format of video and they type of hard drive too. (Firewire, Esata etc) Depending on this you could use one drive as a back up for the other (Using an app like SuperDuper! or RAID them to spread the load. What video format are you working in? Are you going to be doing any intensive compositing of graphics/FX work?
Cheers,
Simon. -
Thanks for your input guys.
This lxf container holds 26, 30 or 50 mbits/sec mpeg2 422 i-frame footage. (As held on their media server) I’m guessing that as the footage is comprised completely of i-frames, this is one of those times it’s ok to edit in mpeg2!?He can export out from Velocity in other formats, but I just wanted to see if there was a way to take the LXF format into FCP natively, as to make the work flow more efficient. If that isn’t an option then, a cut back to tape or to disk in an FCP compatible format will suffice. It may increase the render times, but at least the footage will be in a format that I can use!
All the best,
Simon -
Excellent info. Thanks guys!
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Walter,
Thanks for your reply.
The system being used to laydown the film to HDCAM tape has a Blackmagic card with SDI output, am I correct to assume that this will work in the same way as a system using a Kona card?
Is there anything I should be aware of when changing the footage from progressive to interlaced? (The projector we will be using on the night only accepts 1080i and the original footage is 1080p)Many thanks,
Simon
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You still have to capture the footage as normal, lay it down on the timeline and use the Speed option from the Modify menu; easiest method and one I use frequently.
Simon. -
As DPI is really a print term, the comparable for video (SD and HD) would be 72dpi. There is no point bringing your images in at a higher dpi unless you plan on zooming in. (If you want to zoom in 50%, bring the pics in at 144dpi etc..) Stick to 72 and FCP will have less to render, and the images should look as sharp as possible.
It won’t matter if you are viewing it on a projector, 14″ TV screen or 30″ computer monitor, 72 is 72 no matter how its viewed, the pixels will just be bigger.
PNGs are much better than jpegs. Jpegs are heavily compressed. You set the duration of your still images from within FCP User Preferences. (Check out Photpshop for batch automation to convert all your jpegs to pngs too)
You will need to convert the TODs for sure. I have never tried converting TODs but QTpro may handle it, if not MpegStremClip should work fine. It’s a free app too. Well worth a look!! -
Hey Jason,
The Image size of your stills will depend on what format you intend to edit in which I am assuming is HDV? Will you be adding any motion effects to the stills (zooms, roatation etc) or just laying them down on the timeline one after another? PNG image files work well with FCP.
M2V isn’t a great format to edit in, especially if you are looking to transfer to 16mm for delivery. M2V is a delivery format and heavily compressed and is not an editing format.
If memory serves, TOD is JVCs name for mpeg. I don’t think FCP handles TOD files, you will need to use something like MpegStreamClip to convert them to a useable format. But I would be cautious in this approach and do some test runs, especially if you are planning to transfer to 16mm. More info on The COW here https://forums.creativecow.net/thread/232/257 -
The three I can’t live with out are Match Frame (The F key), Auto In/Out of a clip (X Key) and Shift Z to fit timeline/Viewer/Canvas to window. Lovely Jubbly!