Tom Brooks
Forum Replies Created
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I hear you. A tool tip or a better label on the interface would help unlock those secrets.
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I would gather some additional background material to replace the areas obscured by the statue. Just shoot from the other side of it, with your camera on the same axis, toward the building. That becomes your background layer. Then carve out the statue as a foreground layer–with and without the figures. Here’s where your Photoshop skills come in. If you want to do a slight move, you might try the “Kid Stays in the Picture” effect (Google that), although it won’t work very convincingly with the geometric shape of the statue pedestal. Beyond this basically locked shot approach, the rotoscoping becomes much more complicated.
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Do you have an external A/V output device? I find that a mismatch between project settings and output settings can cause all sorts of troubles, including instantaneous kernel panics.
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It’s there if you click on the source file in the job. It’s in the Metadata area and it supports Scenarist caption file.
MPEG-2 program and transport stream files: Compressor embeds the closed caption data in program and transport MPEG-2 streams using the EIA-608 ATSC protocol.
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Found this on Apple discussions: https://discussions.apple.com/message/24695232#24695232
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I have to go through a very specific startup sequence to make FCX work smoothly. But I think my RAID on Highpoint card is to blame. It doesn’t play will with Quicktime, AJA LHE+ and FCX. Start Mac, wait for AJA to initialize, wait some more, and then fire up Highpoint RAID.
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Great ideas, Bob. All of ’em.
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This thread points out how FCX has changed the terminology. I started thinking of my post in terms of magnetic timeline, but as I actually wrote it, it became clear that my topic was not so much about magnetism but about what gets connected to what. Two different issues.
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I was being provocative. The problem I see here is that a typical project in my world has a lot of voice-over with connected B-roll, music, and sound effects. Connected clips really work for you when you connect them to the main part of the story at that point in time–the part that drives the timing of the content.
For example, the voice over mentions A, B, and C and the connected clips illustrate A, B, and C. When both the V.O. and the B-roll are connected to gap, if you cut or change the V.O., the temporal relationship with the B-Roll changes. I used the term “sync,” which was confusing in this context. What I meant was the temporal relationship of related clips.
When those sections of V.O. with connected clips get complex, it’s a mess to keep things in the proper timing with each other when all elements are dependent only on a gap clip. You cut a word from the V.O. and now all later B-roll is not timed to the V.O. If you make the V.O. the primary storyline, the B-roll stays in proper timing with it when you cut out a section.
I believe connecting B-roll to V.O. in a primary storyline saves a lot of work and ensures proper synchronization of your B-roll, while still allowing flexibility to make cuts or change the order of the V.O. That’s one example of why I place a value judgement on that practice.
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I believe you are describing the icon for a compound clip. Must be one part of the compound is missing. Highlight the clip in the Browser and then select from the menu File/Relink Files. Tick “Missing” to see which clip is missing.