[Tom Ackroyd]

[pol_de_mol] “2. Why can’t I swap edit 2 clips or more at once?”

I used to hate this too. But because I hated (and still do) unnecessary mousing, I started to use the keyboard for this, and ended up using these keyboard macros all the time:

Swap edit for one clip: Park on the clip, x to mark it (or select with mouse), shift-x (ie lift, or “move to clipboard”), up- or down-arrow to new insert point, shift-v (insert clipboard).

Similarly for more than one clip, either select the contiguous clips with the mouse or mark in and out, then shift-x and shift-v as above.

After a while it’s very fast. The only dang downside is having to deselect the pasted clips afterwards …

HTH,
Tom Ackroyd

[Tom Ackroyd]

Totally agree Tony.

FWIW a corporate video production company I was assistant editor for always always shot TOD. We cut on Lightworks; capturing was a breeze – load the tape, hit digitise, LW created a new clip every time there was a TC break. Multiple camera shoots were a breeze as all the cameras were set to same TC at start of each shoot day. (TC may have drifted slightly but syncing was easily fixed). Never never was there non-ascending code.

TOD was a great way to go. You had a feel for the shoot by knowing what time it was, you could create kemrolls for the different cameras to figure out who was where when, and stuff just worked. Onlining was simple too.

Logging and capturing in FCP is a bit of a dawg by comparison, but my workflows are now totally different and TC is continuous …

my2
tom ackroyd

[Tom Ackroyd]

Check out the title sequence to American Splendor for what you can do with stills. It’s so good I want to marry it.

Tom Ackroyd

Mark, PS – The Kid Stays in the Picture was a remarkable book. So one Friday evening I get the movie out. Can’t bear it. Robert Evans has to be the worst narrator I have ever heard. Couldn’t understand a word. Unlike you I got ten minutes in and hit eject!

[Tom Ackroyd]

Just saw this over at Mac OS X Hints:
https://www.macosxhints.com/article.php?story=20060712064929281

Tom Ackroyd

[Tom Ackroyd]

Martin – I hope I’m not hijacking this thread but have you just answered my post of a few weeks back here?

https://forums.creativecow.net/cgi-bin/new_read_post.cgi?forumid=8&postid=895667

Many thanks,
Tom Ackroyd

Original post:

Subject: (OT) what’s the VITC-looking line on my DV deck output?

Not an entirely frivolous post, but I’m really just curious.

My subject line says it all really. It looks a bit like this (in negative):

— – – – — – – — – – – – – – – – – – – –

I’ve also seen this on the output of a DVD recorder. The line doesn’t change so it’s not VITC. Is it some sort of deck ID? It’s on the line right above active picture (line 22??) so never appears on digitised files.

I see this all the time on-air – mostly on shows that have obviously been ARC’d, where you see it sitting on top of letterboxed pictures. Very distracting and not a good look …

[Tom Ackroyd]

I made a vignette from scratch using the gradient generator set to radial, black to white. Stick this over your footage and set its mode to “multiply”. Play around with the generator settings to vary the look of the vignette. Also play around with adding filters to the gradient such as gamma , setup etc to give you different vignette effects…

HTH,
Tom Ackroyd

[Tom Ackroyd]

Dpending on your hardware, the best option would be to export as Apple uncompressed 8bit 4:2:2. The audio will come across as uncompressed PCM 16bit 48kHz.

You could export as 10bit, but as DVD video is (correct me if I’m wrong) 4:2:0 you would not be gaining much.

Second best option is comman-option-e – this exports a DV file, with uncompressed audio as above.

HTH
Tom Ackroyd

[Tom Ackroyd]

This is using a DSR-40P.

I know what you mean Matte, but it’s not “test signals on one line”.

It’s impossible to know if it’s on the tape, or put there by the machine (or even inserted in the firewire data by Final Cut).

It looks to me like some sort of ID – there can’t be that many bits of information in it though.

So far I’m still in the dark!

Thanks all anyway,
Tom Ackroyd

[Tom Ackroyd]

Charlie – not CC, as it’s always there, and never changes – I suspect it’s not even on the tape, although I only ever see it when a tape is playing, or is paused.

Cheers though!

Tom

[Tom Ackroyd]

[Kevin Monahan] “The noise introduced in VHS dubs can lead a long capture astray; I’ve experienced that.”

Kevin – how on earth could noise affect sync?

Tom