Simon Ubsdell
6
COW Coins
Forum Replies Created
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[James Ewart] “I can’t paste a transition onto a connected clip or secondary storyline…just puts it into the primary storyline.”
Turn your connected clip into secondary storyline first (Cmd+G) and then you can copy and paste (or option drag) as you wish to copy transitions.
Simon Ubsdell
http://www.tokyo-uk.com -
[James Ewart] “Anyway frame size is 5578 by 3719.
Hmm…you think that might be a problem?”
That’s a lot of pixels to push around.
20,744,582 to be precise.
Whereas your 1920×1080 video is only 2,073,600 – a tenth of the size.
I seriously would recommend shrinking your still images to something more manageable if you are able – if you don’t have Photoshop, Preview will do an adequate job.
Simon Ubsdell
http://www.tokyo-uk.com -
[James Ewart] “To be fair when I have the option to optimise and create proxies before importing stills I never bother thinking it’s pointless to do so. “
This doesn’t actually reduce the size of stills which will still come in at their full size – you can check them in the Inspector to be sure.
Simon Ubsdell
http://www.tokyo-uk.com -
[James Ewart] “If I have a still image (jpeg) as a connected clip with dip to colour dissolves either end of the clip, if I start messing about with Ken Burns crops too much it crashes.”
Make sure your still image is only as large as it needs to be (in terms of frame size not file size) to give you enough resolution for your Ken Burns effect.
With your modest 8GB of RAM (on the low side for running X smoothly) you could well run into issues with transform effects on oversize images.
Simon Ubsdell
http://www.tokyo-uk.com -
[Jeremy Garchow] “That brings up this old classic. “
Ah yes, dear old rough cut lady.
Brings back all those happy memories of those innocent days when you could actually present a rough cut to a client.
Missing graphics, missing music, missing VO?
These days if the “rough cut” isn’t graded and mixed and polished to within an inch of its life and utterly indistinguishable from a finished product, your client will assume the project is irretrievably doomed.
Sigh.
Simon Ubsdell
http://www.tokyo-uk.com -
[Will Eccleston] “Simon said “Premiere is a non-starter for all its attractions because no-one in our industry uses it and it holds no advantages over Legacy for the work that we do.”
I would contend that it is everything you love about Legacy plus everything it was sorely lacking. But I can’t help you if no one in your market knows how to run it. You could be a pioneer though : )”
For better or for worse, the film industries in the territories with which we do business, from the US, to the UK to Europe, are all still exclusively working in either AVID or FCP7 – the latter far more frequently than you’d expect.
Premiere has no penetration whatsoever among our clients. (Neither has FCP X) for that matter.)
We don’t really get to choose which NLE to use since it is more or less dictated by what we are given.
Sometimes these days I’ll start a project in FCP X, knowing how much fun it is to cut in, but also knowing how many headaches I’ll have at the finishing stage.
I know and use Premiere quite a bit but to me there’s nothing attractive about using it just for the sake of it.
Simon Ubsdell
http://www.tokyo-uk.com -
[Marcus Moore] “In the end it’s semantics.”
Semantics, indeed, as Mr Garchow is always there to remind us.
But also history.
And history can be informative at times.
Simon Ubsdell
http://www.tokyo-uk.com -
[Aindreas Gallagher] “I’m looking at you Ubsdell – as it is presented – do you move to avid X or premiere.
I know the lesser of three weevils when I see it.”
Er, all three maybe?
I won’t be as happy in any of them as I’ve been in Legacy but what can you do? Life goes on.
I will take Pr “Pro” more seriously though, since you suggest that I should.
If I can only get past the dullness …
It works just fine and all but …
Man, is it dull!
Simon Ubsdell
http://www.tokyo-uk.com -
OK, at this point maybe someone can give me sone practical advice.
In FCP7 it’s snap to view any of the RGBA channels separately.
In Pr “Pro”, I only seem to be able to view the alpha channel.
Can that really be the case?
Am I missing something, or has the leading manufacturer of image processing software on the planet not got around to implementing this for its “Pro” editing software yet?
Simon Ubsdell
http://www.tokyo-uk.com -
[Marcus Moore] “While iMovie ’09 debuted this interface, look at it today.”
I notice that in discussions of this subject, it’s often the case that people get confused between the cosmetics of the interface and the fundamental principles of the design.
The latter are obviously the only real point at issue – and this is why the identity of iMovie and FCP X can’t really be argued.
The fact that the UI may or may not at some point have looked the same is utterly irrelevant.
Simon Ubsdell
http://www.tokyo-uk.com