[Sney Noorani]

hey floh,

you’re absolutely correct on both counts, dragging the arrow up does remove it, provided that it’s not the last arrow, thanks so much!

And yes I did finally spot the drop down menu of recently loaded clips on the source monitor, my next quibble is that I can;t clear the list of clips… obviously I’m just far too fussy!

I also want to be able to clear the list of recent tapes in the acquire tool.

thanks to all who replied

Sney //

[Sney Noorani]

thanks for your responses, I really appreciate people taking the time to write.

ok, just to clarify, I’m using Media 100HD Ver.11.5

I’m sure I;ve dragged the dang arrows left, right, up and down etc.

Left and right will slide it along the originating clip, bunching up any other arrows it collides with and pushing them to the left / right. Pulling the arrows up or down seems to do nothing, it neither moves nor deletes them.

If I have clips overlapped on the a and b tracks and there is no arrow between them, then a simple click in the fx area between a and b will insert an arrow, though right now I can’t think if it favors a particular direction when you do it like that…

but I still don;t know how to make the arrows disappear alltogether except for trimming the target layer away from the arrow, thus breaking the link, and then trimming it back.

I want a delete arrow keystroke if anyone knows one.

As for my opinions on avid versus media 100, I prefer Avid, though I’ve begun to enjoy using media 100. I’d drop it in a heartbeat if given the opportunity however.

Avid is a more mature tool in terms of the features included to make you’re job easier. I like to be able to ‘match frame’ and return to the originating media and immediately see it’s full length.

I like to be able to play while I trim, I like having a source monitor in the NLE that has a drop down menu of recently loaded clips. I like to have a big fat bright green scalable timecode window so I can see that kind of information clearly and easily. I like being able to see the waveform and have it scalable incase I’;m working closely with audio (which is most of the time), I like being able to map any commands to keyboard shortcuts of my choosing.

I guess what that says is that I’m definitely more used to the way Avid allows you to work. But I don’t hate media 100. Actually i have more of an issue with F*&^king Boris Red/Green/B,ue Magenta whatever the blasted thing is. It’s $hit. Give me AFX any day….

[Sney Noorani]

my god man, you frankly have much nicer toys than I do. I should move out of the sticks…

[Sney Noorani]

To answer one of your Q’s, I capture Digi through SDI to 10 bit Black Magic codec if on FCP or to 10 bit Avid codec if on the DS. Both obviously at 720 x 486.

ok, so when the media is being captured at 10 bits instead of 8, is it being sampled at a higher resolution by the computer, or are the extra ‘2 bits’ extra channels of information encoded into the footage when it’s shot?

I think my question is wnadering into the realms of extremely technical inner workings of cameras, but if anyone knows how cameras encode what they capture, then feel free to enlighten me.

thanks

Sney //

[Sney Noorani]

ok we’re creaking round to answering my question, which is more about big gaping holes in my knowledge about how these things work which is what happens when you teach yourself this stuff…

firstly apologies for saying that BSP and DV are both digital video. obviously BSP is analogue, but once they’re in the machine then you’re still dealing with digitised video at approximately 720 x 486 give or take a few lines.

Just to clue you in as to the extent of my knowledge, I usually take material that other people have shot and edit/add effects then output. With stuff that’s shot on DV, BSP or Digi I’m often not involved in either the shooting or digitising stage, I basically come in and cut the footage and add all the fancy stuff. But I want to learn more about how to shoot and digitise stuff so that when it comes to adding effects, I can get the cleanest chromakeys etc.

I can’t afford film, so it’s going to have to be video. I probably can’t afford DigiBeta, but even if I managed to wangle a digibeta camera and deck, what’s the process by which it can arrive in after effects in it’s most… advantageous (for want of a better word) form?

I presume I have to digitise via the serial digital interface into the Avid or FCP suite. Are there’ specifc capture settings to get the most information out the footage? Does it all tie into whether it’s 4:2:2? or 4:4:4? these terms were only explained to me earlier this week, and I’ve been editing and doing effects for 4 years… (whoops…).

when walter biscardi said:

“For Chroma Key I would shoot BetaSP and capture at 8bit SD Uncompressed. You will get a far superior key with this method than to shoot with DV and do Chroma Key.”

I gathered that there are specific ways to capture the footage to get the most information out of it. assuming that 8bit uncompressed is the best way to capture (when you said SD, do you mean standard definition or Serial Digital?)

So once the footage is in the machine in my NLE, do I have to export it to AFX in a specific manner? I usually do quicktime references to the media I’ve captured, or a QT reference to a sequence I’ve cut, and then import that into after effects and then work. Also sometimes I export a .mov from my NLE to work with in AFX, this is either a TIFF or Targa compressed .mov as they’re not noticeably lossy.

But should I export the footage differently? Should I come out of my NLE with a .mov with ‘None’ as the compressor? My FCP system at work has the option for uncompressed 10-bit or uncompressed 8-bit… are these better?

Which one is going to provide After Effects with the most information so I can then get the best quality when I key or colour grade?

thanks so much for your time and help.