[Steve Ascher]

we have had the same problem. Sequence renames itself to the name of the last clip added.

[Steve Ascher]

thanks, Noah. I noticed it happening on a high res photo(3576×3615)that motion warns is too large to be displayed at full res. Is there something happening at the render stage that would change the size of the final clip (it’s as though the picture looks smaller after its rendered in the FC timeline).

We’re doing the moves on photos in HD (1920×1080)because final film will be HD (for b’cast on HBO) but offline timeline is 720×480 since all live action was shot DV (anamorphic 16×9). Most graphics down convert fine and look normal on the timeline.

If the resolution tab in motion goes from full to half because the photo is big, would that change the size of the final image after inserting on timeline and rendering? if so, can you force it to stay at full if the graphic is large?

thanks.

[Steve Ascher]

Actually no, the sequence names start with the date and that keeps changing. Will try deleting all renders. The sequences have lots of motion clips and in the past FC could not render an hour sequence without multiple crashes. We had to render a few minutes at a time. Hoping that’s improved with FCS 3

[Steve Ascher]

Thanks for the quick reply, Tom.

99.9% of the movie was shot DVCAM and we are offlining in anamorphic DV with FW800 drives. We will eventually upres to HD for online, at which point we want to get max res out of this uncompressed archival material, rather than downres to DV then up again.

We have done a number of moves on stills in Motion, at HD res which we are also incorporating into the DV timeline. We’re assuming we can re-lay these on the HD timeline and see them at full res. We’ve created these moves using a 1080p preset, figuring this will translate best to both DV for offline and 1080i for online (choosing progressive since the SD and HD have different field orders). Does that sound workable to you?

Thanks again.

[Steve Ascher]

Hi David,

I have the i-one match spyder and have not been able to get our Dells to look right.

Would like to take you up on your offer to get a copy of your calibration profile. How would we do that?

thanks.

[Steve Ascher]

Thanks Shane. We made a new copy of the project file and reimported it. By doing the reconnect media on the project level instead of the sequence level, it seemed to work better.

Good idea on giving both drives same name. Is there any trick for telling them apart if they’re both attached to same system (like an Id number or something findable with Get Info?

If drives don’t have the same name, is there a way to tell a motion clip to relink to a different copy of the motion file than the one used to create it?

Thanks again.

[Steve Ascher]

no, not moire. fine details seem almost electric (flickering on and off) as you zoom in. using blur to get rid of the edges helps that twittery thing, but makes the image duller.

That problem is much worse doing moves in SD, and seemed to be cured by going to HD, but now I’m seeing it again.

Any thoughts about first part of post re: settings?

Thanks

[Steve Ascher]

Thanks! You’ve saved me hours.

[Steve Ascher]

thanks, Noah. I have tweaked in keyframe editor, that’s where I find 3 separate curves (x, y, z) that I want to make the same change to, but when you adjust them individually they always seem to be a little different and then distort the image (if say x slows sooner than y).

the question is: is there a simple way to make identical changes to all the curves in the keyframe editor at once?

[Steve Ascher]

we’ve used stagetools extensively and love it. Once you get the initial settings to your liking, and learn the interface, it makes beautiful moves with a lot of control and flexibility