Thaxter Clavemarlton
Forum Replies Created
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I don’t know what you’re trying to accomplish and I guess you don’t want us to know what you’re trying to accomplish (since you didn’t say).
So I’ll just play along.
I’ll guess you want to remove the interlace of both fields (why, I don’t know).
To do this, first DUPLICATE your timeline and work on the dupe (just in case).Then, apply Effects > Video > De-interlace Filter to all of your clips on the timeline and render.
You will ALWAYS have fields (its how TV works) but both fields will now be identical.
Of course the resolution and smoothness of motion will be lowered as well. -
[Jason Rayles] “3) drag the markers into the queue window “
OK, I’ll bite. How do you “drag the markers” into the queue window”?
I can’t do anything to a marker (other than change its position ON the line or delete it.)
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[Matt Murray] “and you will not encounter as much hiss as normally occurs when “bumping” up the volume. “
In digital, the noise-floor should not be affected whether you do this via increasing the gain or by “doubling” the tracks… as the noise ON the actual track will “double” along with the “wanted” audio, regardless.
And I really dislike doing he “double-up” (or more) as it makes fading and level-riding more complex (as well as making a more a more cumbersome timeline.)
With FCP4+ the “instant” PRE-GAIN makes for a very fast adjustment without the “match-frame” and multi-track hassles.
But, thanks for mentioning this method, as it has been popular in the past.
To each his own! -
[dc] “cheers thax. cant seem to find it though. are you sure FCP 3 has it? “
Nope, sorry, its only in FCP 4x.
But never fear, here’s how to do something similar in FCP 3:
Add the Audio Filters > Compressor/Limiter Filter to a clip, then click that clip back into the viewer “Filters” window.
As a starting point, adjust the Settings to an “all 2’s” formula:
Threshold (db) -20
Ratio 2
Attack Time 20
Release Time 200
Preserve Volume CHECKED (very important!)Now click the viewer to display the actual audio track and set the Level to “2” or “3” (or even HIGHER it the track level is very low.
Now, when you play the track it should be at “more consistent”, and much louder level.
You can play with this “all 2’s” formula if you want, but its a good starting point for compressing the levels without a lot of compressor “pumping.”
The “Threshold” setting will affect the clip the most… as you slide left, it brings more of the low levels UP.
The actual volume adjustment now comes from the “Level” slider on the actual audio track (and you can key-frame that if you want.) -
Add the Audio Filters > Apple > AUPeakLimiter and adjust the “Pre-gain” to any level you want.
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[Rory Hinds] “Is there any way I can go through some footage, mark my stills using markers and then have FCPHD export the marked frames as stills in a batch? “
I’ve never heard of an edit system with such a feature.
By the time you went to the trouble to “mark” the exact frame you wanted, you could just go ahead and EXPORT it right then (you could build a quick “macro” that would be a shortcut.)Once you do the first one, the “use most recent” function comes into play, so its easy to make several exports in the same sitting.
As far as re-naming them, you’d have to do this eventually anyway, or just add a number to the front or end of the default name which is all FCP would do if it COULD automatically perform the function you described.
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[Bernard Newnham] “In those days you waited a long, long time for the tape to spool back. “
One night in the late 70’s we were producing a one-hour late-news special on 2″.
Time got short and we FINISHED on time, but we had to call Master Control to run a series of extra promos (and a quick VO that said “Stay tuned for…) while we waited for the 2” tape to REWIND to the head of the reel, and then RUNNING it to Master (the production machines were not tied to Master) and the engineer threading the beast quickly for playback.
Now THAT’S cutting it close.
I always think of the “running the tape (3/4″, as I recall) through the building to get it on the air” scene in BROADCAST NEWS.
(Other than the fact that they never bothered to rewind or CUE the tape, its pretty accurate.) -
Its not a bug. Its how FCP works.
You need to adjust the speed of your clips BEFORE they are edited to the timeline.
But you can solve this problem afterwards by adjusting the matching “original” clip(s), then editing these newly adjusted clips to replace the one(s) on your timeline.On the timeline: Click on the first frame of the clip you want to Slo-Mo or Fast-Mo.
But do NOT double-click IT into the viewer, but hit the F key so a “match-frame” of the original clip appears in the Viewer.Then, adjust the speed of the clip in the Viewer (Cmd-J) to any percent you want.
Next, on the timeline, use REPLACE to change-out the regular-speed clip with the newly speed-adjusted version.
Your other clips will all stay in place.
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There is a function in FCP that is often overlooked… and it can often help you!
You should “Mixdown” the Audio for playback before you dub out of FCP, or during the edit, if you have audio/video slipping, drop-outs or freezes.
NOTE: Mixdown has even been demonstrated to help with slipping, skipping problems (or “missing” audio clips) for files being EXPORTED as QT (or similar) files out of FCP.
First, SELECT ALL of your audio tracks (highlight them) on the timeline, then:
Sequence Menu > Render Only > Mixdown.
You should see a dialog box telling you its rendering.
It might seem to make little sense that “Mixing down” even simple audio tracks will “fix” complex video “freezes” or random audio dropouts to tape or export, but it CAN.
NOTE: It does not matter of you only have one audio track, if there are random freezes during output, you should try the Mixdown.
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BEFORE WE GET TOO FAR…
Did you try the AUDIO MIXDOWN (as suggested) before you went to the trouble to export and re-import the sequence?
It has been shown to easily correct stuttering and many other similar problems.
It just takes a few seconds.