Steven Gonzales
Forum Replies Created
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You either need to bring the sound in as analog audio, or digital audio. If you have 8 tracks, and you choose to bring them in analog, then you need an interface with 8 channels, or you need to bring them in multiple passes through however many channels you have. You also need to set the playback device up properly and assure that the signal path to the computer is good.
I believe the tascam DA-88 has a TDIF digital interface, so if you can get a compatible audio device hooked to your computer with that interface, then the transfer should be relatively simple.
You might want to use the services of a sound company that will do all this, and can deliver the files to you, ready to go, and save yourself a steep learning curve. It all depends on time and budget.
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Why can’t you do reverse telecine on DVCAM files? I’ve never heard that.
Perhaps the person was confusing Final Cut’s pulldown removal (for camera’s such as Panasonic DVX100) with Cinema Tools’ reverse telecine. Read “Adding and Removing Pull-Down in 24P Clips” in the final cut pro user’s manual.
What version of Final Cut do you have? Of course, turning on any film information in the timecode overlay will only do something if that information is in your project.
The user manuals are suprisingly clear of this subject, especially Cinema Tools manual.
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If you go to “Search Posts” and and look for the terms “phone sound” in all active posts, you’ll find a bunch of ideas using equalization filters of various sorts, such as this:
For a quick ‘telephone voice’ sound effect, use Effects>Audio Filters>Final Cut Pro>High Pass Filter. Set frequency to 2300 and ‘Q’ to 10
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I just received my cross grade, and I looked through the new features, and the manual, and I don’t see anything about film safe.
You are able to display film properties in the canvas and viewer. Perhaps that will allow you, while editing at 29.97, to avoid cutting on a frame which shares fields from the 24fps original.
You do this viewing with view>timecode overlays>timecode/kencode/ink number.
It might be easier to edit your 24 fps original in 24 (or 23.98) by using the reverse telecine features, which are pretty well explained in the Cinema Tools manual.
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A matte is made “Using Built-in Generated Clips” (which is a chapter title in the user manual, which is under the Help pulldown).
In final cut, go to the Window pull down menu, elect effects to get the effects tab, open the bin “Video Generators”, then open the bin “Matte”, then double click color. Now it is open in the viewer. To change the color, click the controls tab.
There’s a shortcut to this also, bottom right corner of the viewer.
Then cut it in like anything else.
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The academic version only works in the morning, and the rest of the time it is trying to be a publishing application. The academic version did some important work, but it was a long time ago. The professional version gets more done in the same time period, but the academic version will be around long into the future, as it is protected by the system.
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How many layers of video do you have? If you have only one, then underneath that is nothing (black). Move the video you are rotating to V2, and put a color matte on V1 and set it to whatever color you want.
Then run out and get the book Motion Graphics and Effects in Final Cut Pro, by Kevin Monahan as soon as possible.
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Everyone installing Final Cut Pro accepts a license agreement. Academic version purchasers also promise that they’re eligible for the discount before purchase, and accept that the academic license is a limited one.
Ultimately, all moral behavior rests in the individual. I would hope that everyone working in this creative venue is also a person who can be trusted to keep their agreements.
While in college, many students get in to campus sports events free. After college, even though they are burdened with loans, they don’t get in free.
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To get around the many version names scratch folder, I’ve often set up a project just for logging and capturing, then after capture I move or copy everything to the daily working project. Then I close the logging project, and either leave it empty or full of every clip as an additional backup.
That way, all the media is in the same place, and I have a current project every day.
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That’s great news about 3 perf.
I’m awaiting my cross grade, but when I downloaded the update descriptions, and the user’s manual from https://www.apple.com/support/cinematools/ there was no mention of the 3 perf capability.
More proof that this forum is more up to date than Apple’s info.