Simon Modery
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You can also split it up into several composition. Then pre-render these before combining them.
Just search for tutorials on “pre-render” there is plenty of stuff out there.Head of Postproduction
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The Canon EOS 60D records video using H.264 compression. So not the best for green screen since the colour channels are highly compressed.
The Black Magic is the best “value for money” camera when it comes to green screen in my opinion.Head of Postproduction
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Are the files WAV / AIFF or MP3?
Final Cut 7 can’t deal with MP3s, they always need rendering unless you convert them first.Head of Postproduction
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Do the converted clips have the same fps as your timeline? If not that is the first thing I would try.
Head of Postproduction
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You mean, you only have a signal in A1 and A2 is silent? And that results in the audio only coming out of the left channel? Am I guessing right so far?
Double click on the audio clip so it opens in the viewer. There, set the Pan-slider to centre. Now the sound from A1 should come out of the left and the right channel.Head of Postproduction
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Looks to me like a Luma-Key. That means you create a matte using the pictures brightness (as opposed to Green-Screen which uses the pictures chroma).
I don’t use Premiere, but I am quite sure it has a Luma Key function.Head of Postproduction
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The only way is a frame by frame paint-out. If you have Photoshop you can export the shots that need fixing as a Prores MOV and open them in PS (yes PS can open MOVs). Use the “Animation” window in PS to navigate between the different frames and use the clone-stamp to get rid of the hair.
The “art” is to keep your paint-outs consistent from frame to frame otherwise you will have a flickering effect that is far more distracting than the hair.Head of Postproduction
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I would rather copy everything to one drive and use the other-one as an additional backup.
If you have original camera files you can’t put into FCP there is no point having the drive they are on connected to your workstation – you are only increasing the risk of loosing data.
The only reason to keep you material split over two drives is if they would almost fill up one single drive ( occupy more that 85-90% of your hard drive space). Because in that case it would start to slow down the speed data can be accessed and written on the drive.Head of Postproduction
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https://www.youtube.com/watch?v=tPSQQAhp3To
Head of Postproduction
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I don’t think it is a transition. You can make stuff like that using keyframes on your “Scale” and “Position” parameter.
Hier is a tutorial I just found:
https://www.youtube.com/watch?v=58-88FBWuS0
Head of Postproduction
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