NLE Mac / Final Cut questions from 2005

[Sergio Perez]

I'm in a particular situation and need help from the professionals in the board.

I'm doing a commercial for a Fireworks display. What I want to do is key some fireworks to night shots I specifically shot for this commercial. I left about half the top of the image with pure black sky (no clouds, black and no stars), and the bottom half with buildings and scenery (no people). However, the shots have motion (they pan).

The commercial was shot in 25P, and the fireworks footage was done in 50i. Any suggestion? I'm working in FCP 5 (studio with all the other software), but also have After Effects. While I would like to be able to do this effect on my current workflow, If a particular program could make my life easier, than a purchase is a possibility.

All help is appreciated. Thanks in advance!

[Boyd Ostroff]

http://news.yahoo.com/news?tmpl=stor...19/bs_nf/37859

The first version of the security update was found to include only a 32-bit version of LibSystem, a vital system component. Problems with 64-bit systems cropped up first at Wolfram Research, developer of the 64-bit visual computational tool Mathematica.

All the more reason to be sure that you shut off automatic updates in the Software Update system preference pane. I have been burned before when the system updated something on its own. Best to let it ask you first...

[Stephen Nichols]

I have my 30 minute film sound track in Final Cut Pro 5 at the moment. 6 channels from a previous mix imported back into FCP. I would like a workpath to accomplish a Dolby Lt /Rt mix which I can lay back to a digibeta for exhibition at a film a festival. The theatre has Dolby decoders. However, I am not sure how to get the Dolby mix into an analog format for the digibeta. I have been told that the digital Lt/Rt will not play on digibeta.

[Steve Nunez]

Hello everyone.....I've downloaded tons of HDV clips in their .m2t format and have converted them using MpegStreamclip to various formats and am confused about a few things. If I simply demux to m2v, the file size for the resulting video is nearly the same as the source m2t- which is understandable- I can import these conversions (or is transcode the proper term?) into FCPHD with no issue and they're viewable in the viewer window perfectly......but when I import the clips settings to the sequence with the same settings as the clip- the timeline needs rendering- am I missing a setting to allow no rendering- or have I missed something?

If I convert the initial .m2t file to various quicktime codecs such as DV HD-1080i (even deinterlaced- which looks great!) it shows up on the timeline without needing rendering- but the resulting file is 4X bigger than the source .m2t..is this the proper workflow?
I would have thought the raw m2v would be better and is nearly the same size as the source file- but I can't seem to figure out the proper sequence settings to allow for non-rending on the timeline.

Obviously it seems wrong to have to convert/trasncode the m2t to a quicktime codec which is 4X the file size and 4X the data rate to allow for no rendering on the timeline- does someone see a flaw in my workflow?

<< Timeline Settings were: 1440 X 810 , and variations- all needing rendering except when clips were in a QT format >>

Setup: Mac G5 Dual 2.5ghz,2.5GB Ram, FCP 4HD and sample clip called TaxiLady which I downloaded some time ago- I thought the source file was from a JVC HD10 or HD1- but MpegStreamclip info window sees it as a 25mbps file which would seem to indicate it's from a 1080i camera and not a 720p camera (unless the data is wrong- but I recall it being from a JVC HDV cam??? I thought they used data rates of 19mbps??)

[Evan Fisher]

I am offlining at DV resolution 23.98 for a 24P HD finish that will also be done on FCP. What plug-ins are people using most successfully for compositing 24P HD blue/green screens in FCP? Will these transfer effectively in my uprez process?

PS. I have been using the technique found on Ken Stone's pages.

Thanks in advance for your response.

[David Slingerland]

At IBC 2005, AJA will show five converters and the Io Control Panel for
Io, IoLA and IoLD for their first appearance at IBC. Several of the new
converters are AJA's first audio converters.

Io Control Panel application enables direct, standalone control of Io,
IoLA or IoLD from a simple OS X interface on the PowerMac. This allows
the use of the Io as a standalone A to D and / or D to A video converter.
In addition the control panel features extensive Proc Amp controls as well
as the ability to disembed or embed audio, which adds a tremendous amount
of value, considering the price of other products with these abilities.
Its Proc Amp capabilities include adjustment of hue, saturation, video
gain, and black level, output timing horizontal or vertical, genlock settings,
and analog audio level control.

HD10AM-HD/SDI Dual Rate 8 Channel AES Audio Embedder/Disembedder. The Disembedder
is always functional, providing 4 AES outputs. The Embedder is user selectable,
on a channel pair basis, to either "pass" SDI input audio or to embed input
AES audio. AES inputs are sample rate converted to a 48Hz rate synchronous
to the video output. Input video standard is automatically detected and
configured.

HD10AMA-HD/SDI Dual Rate 4 Channel Analog Audio Embedder/Disembedder. The
Disembedder is always functional, providing 4 Analog audio outputs. The
Embedder is user selectable, on a channel pair basis, to either "pass"
SDI input audio or to embed input analog audio. Analog audio levels are
selectable. Input video standard is automatically detected and configured.

ADA4 4-Channel Bi-directional AES/EBU Audio A/D and D/A can be configured
as a 4 channel D/A, or 2 channel A/D and 2 channel D/A. It can accept a
Wordclock or video sync/color black reference input for synchronization.
Reference input and synchronization are automatic.

HDP4 HD-SDI/SDI to DVI-D and Audio Converter converts HD-SDI/SDI to DVI-D
for LCD/Plasma monitors and provides 4 DVI-D and audio outputs. Its built-in
high quality scaling engine automatically sizes 4:3 or 16:9 inputs to many
DVI-D monitors. For appropriate monitor configurations, scaling is automatically
1:1.

D5PSW SDI/ASI Protection Switch is a low-cost, dual SDI/ASI input protection
switch with 3 SDI/ASI outputs. It can be used as a repeater and/or DA.
Its multi-color LED indicators provide instant status.
###

[Bryan Roberts]

Hey all -

Well the super16mm film I'm assistant editor on is winding down but I have an interesting problem. The production has wrapped on principal photography but the director has shot broll for a montage sequence on a DVX100 in 24p mode (not 24pA, just standard 24p). My task is to build a little montage scene ala the show 24 with moving boxes etc. inside of FCP.

1. I assume I'll need a seperate project for this montage as my 24p footage is 29.97 and my movie is in native 23.98?

2. Should I create the montage normally in a seperate 29.97 DV project and just know that my videoish movement of the boxes will eventually be film-like when it's all transferred to 16mm?

[Boyd Ostroff]

http://www.forbes.com/markets/2005/0...markets03.html

Survey results indicated that 53% of post-production customers expect to spend the same or more on technology in calendar 2006 versus calendar 2005. Nearly 40% said Apple would be the primary beneficiary of their technology spending next year.

[Tim Pearce]

hi,
I was exporting from FCP 5.0 using export to Quicktime. I was continuously getting "general error" messages when exporting. I am exporting rough footage to make a DVD to send to someone for some location clearances for my film. I have a simpple sequence of sequential clips on V1. I put "lower third" titles over them to indicate the location of the shot. I put them all on V2. I deleted all the titles on V2 and the sequence exported with no problems. I am happy to have it exported, but I'm curious as to why the titles were causing exporting errors. any ideas? thanks!

[Steve Nunez]

Hello everyone. I'd like to purchase the JVC Everio MC500 which records video in mpeg-2 format to Microdrive in files renamed to .mod. I've learned that the .mod files are simply mpeg-2 files renamed and if the file extension is changed to .mpg the files play with various players. My question is: since FCP5 edits HDV's long GOP mpeg natively- can I assume the standard DVD type mpeg-2 type of mpeg can also be edited natively within FCP5 without transcoding?
I'd like to edit the mpg files the Everio produces without transcoding or converting to preserve the video quality. I can use MpegStreamclip to convert to .dv but I'm assuming I'd get a quality hit- I'm trying to preserve the quality the Everio outputs in their .mod files.
So, can FCP edit mpeg-2 files natively- if so what sequence preset should I use or custom setup?
If not- what would you guys suggest as a workflow to edit the .mods to mpeg-2 then to a codec to use in FCP5?
Thanks guys- I know this question is a doozy!

[Pietro Jona]

HI all,
I recently installed a friend's FCP4 on my 15" 2gigs ram powerbook. I guess it is a cracked version (that I only want to try, I'll get and pay for the original as soon as I understan if FCP works for me).
the problem I have is the following: when i double click a clip in the browser the clip (or the first frame of the clip) is not shown in the viewer. It actually is there because it is shown as soon as hit the spacebar or the L or the play command.. strange.
The clips I'm having problems with all come from a long clip captured with the "capture now" command and splitted with the "detect start stop" option in the mark menu. May be the problem depends on the way I captured the footage?
thanks for any help
pietro

[Brooks Bennett]

I was wondering if anyone else with both Final Cut Pro HD and the M-Audio FireWire 410 audio interface have experienced errors in their playback to an external preview monitor.

With the FireWire 410 plugged in, my preview monitor will flicker black and gray while playing back. (The preview monitor is plugged in via S-Video to my DSR-11 which is connected to my G5 via firewire). When I stop scrubbing the playhead it will flicker gray, then load the image fine. All of this is solved by unplugging the FireWire 410.

Does anyone have an environment with both FCP HD and the FW410 working in harmony?

Also, when I use my FireWire 410 in Soundtrack Pro there is a metronome like clicking noise in the audio I record... Anyone know what that might be?

[Steve Nunez]

Hello everyone.
I'm having trouble batch capturing using FCP5 with the JVC HD10U. In the capture window it spools up and seems as if it's going to capture video- it then displays a message stating there's a "Streamcode Error" and that the clips can't be captured......anyone ever hear of this or know a fix?

I never got this message when using the Sony FX1- only the JVC keeps causing these errors....I'm at a loss for geting the clips into FCP5!!!
(The timecode is steady and seems continous- there are no detectable pauses anywhere???)

[Tim Commeijne]

Hello to all,

This is something I see a lot here: How to convert (or play) you 16:9 footage for a 4:3 tv.
Mostly people write: How do I make my 16:9 footage anamorph for a 4:3 tv?
That question is incorrect to begin with: 16:9 footage IS anamorph (exept HD)

Anamorph means: you record a 16:9 signal (from the camera chip) as a 4:3 signal on the tape. You camera will squeese your 16:9 signal to a 4:3 signal.

This is not only with DV, every other standard definition format (DVCPRO, Betacam, IMX, etc...) is recording its image on a 4:3 signal.
So every Standard Definition format records its 16:9 footage anamorph (16:9 image squeesed to 4:3)

HD is the only format that records reel 16:9

How you know this is true: When you have captured Standard defintion footage (DV, Betacam, IMX,...) 4:3 or 16:9 (anamorph) does not matter, when you open that video file with quick time, it will allways be a 4:3 image.

When you captured 16:9 footage you will also see a 4:3 image, because it is anamorph (your 16:9 footage is squeesed and recorded as a 4:3 image)

When you have captured HD footage (HDCAM, DVCPROHD, HDV, XDCAM HD,...) and you open this file in quick time, you will see a true 16:9 image (HD records in true 16:9 without squeesing images)

(I'm repeating a lot, but I'm gooing step by step so everything is realy clear)

HOW TO WORK WITH 16:9 FOOTAGE IN FINAL CUT PRO

Lets forget about HD for now, suppose we recorded and capture in Standard def.

When you capture footage (on any system) you write a couple of things in to the file: audio, video, time code and other information.
some of that other information could be if it is 4:3 footage or anamorph (16:9)

If you are working with 16:9 footage choose in your capture presets: DV NTSC (or PAL) 48khz Anamorph
(Choose the same for your sequence preset, because your capture preset, and your sequence presets have to be the same) YOU CAN ONLY EDIT IN A SEQUENCE THAT HAS THE SAME PRESET AS YOUR CAPTURED FOOTAGE (Unless you render first)
When you chose that capture preset (DV NTSC 48kHz Anamorph) Final Cut Pro will capture your footage as a 4:3 squeesed image file, but ads that little info to the file that it is 16:9 anamorph.

As said earlyer when you open that videofile (not in final cut pro but in you folder: "capture files") it wil show as an 4:3 video file, because it is captured that way (it is Standard Def video)

Now when you open this video file in your project, final cut pro wil read that little "info" in the file that says: This is anamorph video, and it wil play that file back in a 16:9 aspect ratio.

You could think of it like this: whith anarmorph video (and sequences), final cut pro thinks 4:3 but plays it back in a 16:9 aspect ratio.

IF YOU WANT TO PLAY BACK 16:9 ON A 4:3 TV

Sinds 16:9 is a squeesed 4:3 image, that is the way your camera sends it to your TV via your cable (as a squeesed 4:3 image)
So if you play this footage on a 4:3 TV you will se a squeesed 4:3 image

What you need is:
1: A 16:9 TV. This TV wil squeese your Anamorph 4:3 image to a 16:9 ratio.

or

2: A 4:3 TV that has a function to Squeese to 16:9 ratio. (most new 4:3 tv's have this)

But what is your 4:3 tv does not have this function?
Well you can do this in Final Cut Pro.

My first advice: DO THIS IN THE LAST POSSIBLE FASE.
If you are working with anamorph video: Capture, edit, and print back as anamorph video.
Allways print your movie to tape as anamoph video if you want to store that tape (it is how you filmed, how you edited, so you schould save it that way)

If you want to play back your 16:9 movie on a 4:3 tv, we have to make an extra tape that has a 16:9 image in a 4:3 image, not squeesed (anamorph)
You want to put an 16:9 ratio in a 4:3 ratio (without squeesing)
Because a 16:9 is much wider than 4:3, and if you place a 16:9 image in a 4:3 image, you wil be left with black bars on top and bottom of the image.
This way you will see 16:9 (in the correct ratio, not squeesed) on your 4:3 tv. This image (widescreen in 4:3 with black bars is called LETTERBOX)

So the question would be: Hou can I play my 16:9 footage LETTERBOXED on my 4:3 tv?

FINALLY: HOW TO LETTERBOX YOUR 16:9 IMAGE IN FINAL CUT PRO

Actually, this is verry simple:

You have been capturing and editing in Anamorph video.
We now want to Letterbox our anamorph (squeesed) sequence in a (unsqueesed) 4:3 sequence.

So first: Change your sequence preset from "DV NTSC 48kHz Anamorph" to a non-anamorph preset, beïng: "DV NTSC 48kHz".
Dont worry: This wil not change your sequence you have been editing in, it only has effect on the next sequence you create.
So this is what we are gonna do: we choose: file ---> new sequence.
When you open this sequence you will see that is has an 4:3 ratio.
Now in your browser, look for your anamorph sequence that you have been editing in.
Now simply drag the sequence (dont open it) into the timeline of your new 4:3 sequence. Now you wil see that your intire sequence is letterboxed in a 4:3 image.

But: you can not play this sequence back yet, it wil say "unrendered" and you will see a red renderbar above your sequence. why is this?

Well remeber I said earlyer that your capture and sequende presets have to be the same?
Well now you have put a anamorph suquence (and its captured anamorph video) in a normal 4:3 sequence. So the presets of those two are not the same any more. So all you have to do is render your new sequence, and you can print your letterboxed film to tape!

I hope this will answer all your questions about 16:9 and anamorph video.

Greetz,
Tim

DON'T FORGET:

ANAMORPH = 16:9 image squeesed into a 4:3 image
LETTERBOXED = 16:9 image in 4:3 image, not squeesed (black bars top and bottom)
Allways keep working anamorph on to the last fase. Archive your project anamorph, only letterboxing for display on 4:3 tv.

[Steve Nunez]

I'm using a JVC HD10U with FCP5 and am continously getting "Stream Error Detected" messages during batch capturing and can't get my clips captured. Has anyone experienced this or know of a workaround?
I'm at a standstill and have no way of getting my HDV clips into the project. If anyone knows anything, please leave a comment.
Thanks everyone.

(Note: Timecode is continuous- no breaks apparent. FCP warns the media could be faulty but I'm using new Sony DVM60ME tapes and doubt the tapes are the culprit. I'll try a Panasonic tape tomorrow- if anyone has any info, I'd be interested in hearing it. Thanks again.)