Todd Gillespie
Forum Replies Created
-
Duff and Dave are spot on.
If you are wanting to create transitions with clips from FCP -in AE, then you will diffinately need Automatic Duck. You can manage to export/import when you are going clip by clip, but for transitions and color correction-you’ll need Duck.To save on time and space, I usually would export a ‘by-reference’ (not self-contained) file out of FCP, then when you go back to FCP out of AE I would create an animation file, then downconvert in FCP. But the by ref file will only work if you are using the same machine for AE.
Todd at UCSB
Television Production -
Hi,
not sure what you’re trying to do?
You can lay to tape as an anamorphic 16×9, but you will need to view the tape on a display that will show you 16×9.when you nest the sequence in a 4×3 timeline, you’re going to create a letterbox program, that will correct on any display.
Neither way will loss any quality.
Good Luck,
Todd at UCSB
Television Production -
Create a new 4×3 sequence and ‘nest’ your 16×9 sequence into the timeline. It should automatically give you a letterbox of the sequence. If not reduce the size down until all the video fits onto the screen (around 75%).
Lay to tape.
Good Luck,
Todd at UCSB
Television Production -
Hi there,
You didn’t mention what error you are getting?
For FCP to import the P2 footage correctly, it will need ALL of the files. Just the way they were on the card.If you’re having a finder problem, it might have to do with user permissions. You can get ‘info’ on the folder and look to see if you have the right to ‘write’
Good Luck,
Todd at UCSB
Television Production -
In FCP panning your audio channels to center would give you the same results as a mono channel.
Cheers,
Todd at UCSB
Television Production -
Hi JUDD,
I think you’re getting close.
Compressor is the way to go.
I would recommend that you choose a web setting you like, but DO NOT adjust the data rate settings! I can’t explain why, but often I will get unfavorable result when I try to tweak these settings.So it will take serveral passes to get what you want…
First choose the codec you need-render
Next fix the red problem-render
Finally adjust the data rate-renderBy working this way you will be able to follow at what point you are having problems and be able to try and find a way that works for you.
Good Luck,
Todd at UCSB
Television Production -
Hello,
As to the group of first quesiton you posed, editing DV footage on a Mac has the same signal path and I/O as it does for Premier.
[l_vaughan] “s editing on a imac ok, or will it run real slow?
“https://www.apple.com/finalcutstudio/specs.html
here’s the system requirements from Apple. iMac is not listed. While you can probably ‘get by’ with EDITING on an iMac for a while, you will quickly out grow it.Good Luck,
Todd at UCSB
Television Production -
Hi Danny,
I’m not exactly sure what you’re trying to accomplish…but I think creating a DV codec (full rez) file of your animation would be a good chioce.
The low bandwidth with a full image should get you by.Cheers,
Todd at UCSB
Television Production -
Your audio levels can look fine in FCP, but you could still be coming into FCP too hot either due to the Canopus or your raw video is distorted. Just because levels ‘look’ fine, doesn’t mean the audio is good coming into FCP.
Even when I’ve had mismatch audio frequencies, the audio still sounds OK (usually there will be an occassional warble, pop, etc. that goes away when I convert to the correct frequency)
You can try digitize thru non-controlable device. See if FCP will bring the audo in at 48khz.
It sounds like a problem with Canopus…
Are you monitoring audio before you dig-via output of FCP? Does it sound clean? If so, then it’s a problem with FCP. If the audio sounds bad before or while digitizing, then it’s a Canopus issue.
Good Luck,
Todd at UCSB
Television Production -
I believe you need FCP 5.1.
5.0 isn’t for Mac-Intel.
You’ll need the FCP Crossgrade.Good Luck,
Todd at UCSB
Television Production