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June 2005 Archives

The blend modes in Motion are quite handy, easy to use and can add some serious personalization to a project. If you need to add a quick tint to an object, Darken or add Vivid or Hard Light, the blend modes offers quick solutions.
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Contexual-click and you will have access to all 27 modes allowing you to perform functions such as dropping out dark areas, Overlaying, building up colors and plenty more.


Tweak away with these modes and discover the depth in look and feel they can create!

Take a look at these free tutorials for Avid, Final Cut Pro and more!

If you send audio from Final Cut Pro 5 into Soundtrack Pro, your audio may go offline within Final Cut Pro after you have finished processing the audio clip. You will then have to reconnect media within Final Cut Pro.

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To prevent this from happening, Save the file within Soundtrack Pro before switching to Final Cut Pro.

Look at some of the most frequently asked questions about upgrading to Final Cut Pro 5!

If you have just conducted a fresh install of Final Cut Pro 5 or have performed an upgrade and the program will not start when you try to launch it, make sure that you have QuickTime 7 installed. Final Cut Pro 5 requires QuickTime 7 to operate.
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If you are having a launch problem with Final Cut Pro 5 and are not for sure which player you have, check to see which version of Quicktime you have:

1 Open your Quicktime Player.

2 Choose the About QuickTime option from the QuickTime Player menu.

Take a look at Final Cut Studio, then take a look at how to wield it! Final Cut Studio Combo Classes!

You can use 24p material in tracks within DVD Studio Pro as well as in menus, as buttons and in drop zones. How DVD Studio Pro processes your 24p footage depend on how the material was encoded.

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If you have already run your footage through compressor and have made 24p Mpeg 2 assets, then your footage will remain 24fps after you have built your project. If you import your footage as a 24p Quicktime asset, it will be encoded as either 30 fps or 25 fps when you build your project!

One of the new features of Apple's Motion 2, the Replicator, is the ability to automatically generate and animate multiple copies of graphics, shapes and movies.

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With over 100 Replicator presets, the repeated patterns that you can generate are based on a shape that you choose, such as spirals, rectangles, etc and can be modified and animated to adhere to the parameters of that specific shape. For example, you can dictate the degree of twist in a spiral's arm, or simply change the size of a circle.

Check out this extensive tutorial on Using The Sequence Replicator In Motion 2!

Did you know that the HDV Log and Capture Preview is disabled within Final Cut Pro when a PCI graphics card is installed?
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Whether you have just entered the realm of video editing or are a seasoned Final Cut Pro Editor about to dive into HDV, there are some things you should keep in mind before you join the revolution!

Become familiar with some of the limitations and changes in workflow in Final Cut Pro 5, some of them are subtle and some are not!

Working In HDV In Final Cut Pro 5

All DVD players have a region code preventing them from playing discs that are not from their region, but there are many DVD players in PAL countries that have the ability to pull double duty and play NTSC DVD-Video titles. Keep in mind that although these players are able to play NTSC Material they are not converting NTSC material to PAL, they are simply outputting the NTSC sources through an NTSC or dual standard monitor.

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If you have a project that will need to be played on either NTSC or PAL DVD players, you will have to create two titles and two versions of the sources, including all graphics and video, one for each standard.

Do you find yourself wanting to be more competitive in the video job market? Check out this unique 10-day training opportunity for Final Cut Pro, DVD Studio Pro, and Motion!

When using a track's assigned fader you are only able to manipulate the audio clip that is located under the playhead. If you have parked the playhead over an area where there is no audio present, the fader will automatically be set to total silence. Keep in mind that you can manipulate the audio levels of a clip in the timeline while it is playing as well as when it is paused.

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When you have the playhead over a pair of linked audio clips, the faders assigned to those clips will respond accordingly to whether or not the clips are a stereo pair. Concerning dual mono clips, the faders can be adjusted independently, therefore if you have shot a scene with two actors trading dialogue you can adjust them separately for maximum clarity. Stereo pair clips are assigned faders that are locked together and move in a synchronized motion when adjusted. This will assure that level changes in both left and right channels have occurred evenly.

Check out other adventures in Audio and Final Cut Pro: Breaking Audio Sync , Syncing Audio, Converting Audio Sample Rates, Setting Up For Voiceover.

If you have been editing for any substantial amount of time, then you already know that plug-ins can truly help boost the appearance of your project and give it that extra edge your client could be looking for!

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Many plug-ins have been made to order for a specific task and then later made available to the public varying dramatically in price. Whatever your poison, whether it's glints, glares, Film Effects or a whole list of others that you just have to see and can't be describe by words, there are plenty of choices for today's editor to set him or herself apart from pack.

Check out this article that reviews a set of plug-ins that were until now available only to Adobe AfterEffects and Avid users. Sapphire Plug-ins are now available to Final Cut Pro Users.

There are a few things you Avid and Final Cut Pro Users need to consider when building or purchasing a workstation to achieve maximum playback performance from software-based real-time effects.

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- Workstations with dual processors have a considerable advantage over single processor computers when it comes to real-time performance.

- The larger the cache (Level 3) the better the realtime performance.

- A faster memory bus allows for greater real-time performance.

- A fast hard drive is advantageous to the performance of real-time playback, especially when you are compositing multiple layers of superimposed video.

- A fast graphics card is a must. Final Cut Pro uses OpenGL to accelerate realtime display.

Check out this article that critiques the 20 inch iMAC running Final Cut Pro!

After you have created your subtitles in DVD Studio Pro now it's time to position your text. You can achieve this by going into the text pane of the DVD Studio Pro Preferences or the General Tab in the Subtitles Inspector, both will allow you to perform horizontal and vertical alignment for precise placement.

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Positioning Subtitles Without Dragging:

1 Choose the horizontal alignment (left, center, right)

2 Enter a value in order to position. Remember, a positive value moves to the right and a negative value moves to the left.

3 Choose vertical alignment (top, center, bottom).

4 Enter a value in order to position. A positive value will move the text downward and a negative value will move the text upward.

Learn how to take advantage of a rare Final Cut Pro, DVD Studio Pro and Motion training opportunity!

By using the Limit Effect controls it is possible to tweak the color of your clip by layering multiple color correction filters, which in effect will balance selective areas of the picture in regard to color, saturation, and luminance levels.

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Since color correction filters work serially, if you were to add two filters to a clip, the second filter would modify the effect of the first filter added. For example, if your clip consisted of a flower garden and you made some slight adjustments to the color value of the flowers by using a color correction filter, leaving the grass with an organge hue, the second filter you add would target the greenish/orange hue instead of the original green.

Check out this nationwide Video and Film Editing job site! Good Luck!

Why would you ever want to deliberately break audio sync, well, there are many reasons why you may feel compelled to do so!

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Some Creative Reasons For Breaking Audio Sync:

- Reediting an actor's audio from one take to match the visual of another take.

- Manipulation ambient sound behind an image with no hard sync visuals.

- Sweeting an actor's dialogue (very sophisticated).

- Manipulating visuals of an actor responding to an off camera voice for timing purposes and etc.

This list can go on and on. If you are looking for an audio tool that will provide you more flexibility and control over your project take a look at this link for Apples New Soundtrack Pro!

One of the confusing issues with Final Cut Pro, is that when FCP peforms an auto-save function, it saves the current project into the auto-save vault.

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In order to recover an earlier version of a project, you must go directly to the Final Cut Pro auto-save vault.

The Final Cut Pro autosave vault is located at:

MAC-HD/users/username/documents/Final Cut Pro Documents/Auto Save Vault/name of project

Make sure you copy the old project out of the vault to a new location, and give it a new name.

Whether you are a seasoned editor or just beginning your career, you know that problem solving is a daily ritual performed by all serious editors. Whether it's due to misinterpretation of instructions, improper configuration, or a down right nasty bug, no one is immune!

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The educators at GeniusDV have been problem solving for a long time and have compiled a list of common Final Cut Pro problems that may prove to be of some use to you. So before you start thumbing through three volumes of user's manuals, take a look at Common Final Cut Pro Technical Issues.

One of the most important items when configuring an Avid Xpress system is the graphics card.

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One confusing issue, is most graphics cards will work. However, if you do not choose an approved graphics card you may be limiting the 3D open GL functionality of the Avid Xpress Pro software. 3D-DVE effects are real-time functions of Avid Xpress Pro when configured with an appropriate graphics card.

As of version 5.1.2 (PC only) only certain NVIDIA graphis cards are supported. These include:

The NVIDIA Quadro 980 XGL, the QuadroFX 1100, 1300, 1400.

On a MAC, the good news is that all new G5's support a qualified graphics card, you do not need to change anything!

As the 16:9 craze slowly catches on, many Avid editors will come across the issue of using mixed aspect ratios. What do you do if you you need to mix together 16:9 and 4:3 material in the same timeline?

Fortunately, their is a great feature in the Avid software where you can apply an effect to a filler track (usually the top most track), and that effect will ripple down through all your other edits.

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In this case, a resize effect was used to make true 16 x 9 material appear properly letter-boxed within a 4:3 standard television screen. GeniusDV has a full tutorial on dealing with 16:9 aspect ratios and resizing them for 4:3 television.

Playing back 720p video at 59.94 fps or 60 fps, DVCPRO HD can also simulate alternate frame rates by flagging certain frames for removal during capture or playback. For example, if you were capturing 720p with a frame rate of 29.97 fps, the camera will actually be recording at 59.94 fps, Final Cut Pro would just ignore the duplicate frames.

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Appropriately configuring the capture presets for 720p30 and 720p24 informs FCP whether or not to remove duplicate frames that are tagged by the camera when shooting in frame rates other than 59.94.

Get more info about a special Apple Professional Studio Bundle course!

Motion has very little audio manipulation capability while supporting file formats such as AIFF, WAV, MP3, AAC and QuickTime Audio. It is very evident that it would be advantageous to do the bulk of your audio in another program before importing into Motion.

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With that being said, Motion does have an audio editor that allows for play back independently from the project, the ability to set in and out points and the setting of keyframes for volume and panning. You can also slip audio tracks in the audio editor, timeline and mini-timeline and also scrub the audio in the editor and timeline.

Check out this tutorial for a more extensive look at the audio capabilities of Motion.

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This page is an archive of entries from June 2005 listed from newest to oldest.

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