Stephan Walfridsson
Forum Replies Created
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What kind of capture card are you using?
Stephan
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You should do this in Motion, AE or something similar.
1. Crop or mask out the mouth and eyes from your source image.
2. Position facial features at correct position.
3.Track the source image to the thumb.
4. Color correct source image to match the finger.
5. Done…Stephan
[edit]Â Actually never mind the tracking, Bill is right, use a still image….
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Hey Ross, the link in your signature is misspelled…. 😉
Stephan
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[Jason Dutcher] “I was thinking of doing some things with keyframe mattes, but that seems very time consuming on a motion subject.”
This is generally the only way to do it. However there are ways to speed up the process. (First, don’t dooit in FCP, use AE or something similar which is designed for this type of work.)
You may be able to use several different keys to extract different parts of the foreground object.
Mokey is a software designed for this specific purpose, but it is expensive. And your results may vary depending on the footage.
Using Mocha (included in the latest AE if I’m not mistaken) you can get usually get a decent tracked shape using the planar tracker. But most of the time you will have to manually fix problem areas.
No matter how you do it, it will be a timeconsuming process. That is the reason why you prefer to use greenscreen.
Stephan
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You could use screensharing and control you MacPro from your Macbook Pro, but I doubt that it would be useful for editing. 😉
Stephan
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[osama rasheed] “1- in cinema tools should we give the TK ‘telcine speeed’ 24 or 25? and the TC video should it be 24 or 25? we have the betacam tapes with 25 fps, but we filmed with 24fps. “
What I do is skip Cinema Tools completely. IF your lab can use the timecode to conform the edit you don’t need to use Cinema Tools. If they need a cutlist with keycodes then that is a different story. I guess that the Telecine speed should be 25fps and the TC should be 25fps as well. But I have never had the need to use Cinema tools (except for conforming QT’s from 24 to 25fps) so I may be wrong.
As I said before, the big question is what your lab needs!?!
[osama rasheed] “2- in finale cut should we working with 24@25, 24 or 25 setup? if in 25 that mean we need only to fast the sound 4%, right? “
Use 24@25. This will change the playback speed of your quicktimes to 24fps but will keep a 25fps timecode.So there will be no need to change the speed of the sound.
[osama rasheed] “3- after finishing should we make a EDL with 24 or 25 fps? “
The EDL should be 25fps as that is the TC rate on the tapes.
[osama rasheed] “4- about the sound: we recorded the sound with the Nigra, and it is with out time code. and now we have every thing on computer. what should we do for the audio EDL file? and if we are working with 25 sequence setup how could we speed it up 4% just normally from Speed in right click, or should it been don in other sound software like Sound track pro? “
You should export an audio OMF of the final edit and give that to the sound guys.
The correct way is to not change the speed of the audio. Edit at 24@25 and everything should be in sync. If you change the audio speed you will only have more trouble later when you go back to 24fps playback for the film print.
I’m sorry if the answers are a bit short but I am in a bit of a hurry. If you need more help I can explain the process in more detail.
Stephan
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Depending on your workflow you may not need to build a database and/or use flex files.
If you did a straight frame for frame 25fps transfer and the timecode on your tapes has a reference frame (usually xx:00:00:00 at a frame with a punch hole) you can simply output a 25fps edl from fcp after editing that can be referenced back to the correct frames using the punch hole as reference.
This may become problematic if you will be doing negative cutting (I have only worked with the DI process where you scan the negative rather than cut it) but you should definetly consult your finishing lab to see what they need from you.
Stephan
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[Diane Angel] ” I have heard that sound does not have any delay unless it travels more than 47 feet…”
As the speed of sound is 1125 feet per second it travels approximately 47 ft during 1/24th of a second. So if you are shooting at 24fps and the distance from slate to mic is less than 47 ft the sound of the slate should theoretically match to the frame where the slate is closed. But, as the slate may be closed at any time during the exposure of the frame or even between exposures there is always a possibility that a frame before or after may look more in sync.
Also if your talent is farther away than 47 ft and your slate is closer then you could have the situation where it is more visually pleasing to have the sound offset by a frame even though it would be technically incorrect. In the real world you would see a person talking 1/24th of a second out of sync if they were 47ft from you. But your brain probably wouldn’t notice it.
But the general rule is that you shoud sync on the frame where the slate is closed. Two or tree frames off seem a bit much. Assuming that your equipment is working correctly, both for recording and the editing setup where you play back and check the synced sound.
Stephan
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Is the flicker coming from your lightsources? If you are shooting 25 fps in a country that uses 60Hz electricity you may have problems with the alternating current switching at a different rate than the camera shutter which results in flicker from any lightsource that is not ‘flicker free’.
Stephan
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[Dylan Reeve] “What I’ve wanted to do for a long time is actually try and setup some head-to-head test between the two to get a somewhat more objective idea of strengths and weaknesses.”
I think that the number of variables that are involved in a project would make it hard to come up with any kind of objective answers. First it depends on the editor and the hardware, then you have to factor in source formats, delivery formats, exact need for graphics and effects and all the other things that go into a project.
[Dylan Reeve] “In what features or functions does FCP perform worse than Avid? “
I believe that it in the end it’s just a matter of personal taste and workflow habits.
But to answer your question; The one thing that I constantly curse at FCP for is the way it handles render caches on the timeline. Avid does this much more effectively… And the possibility to add effects to empty tracks in Avid is a nice feature that I miss when I use FCP.
Stephan