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January 2007 Archives

By encoding with Compressor when you export from Final Cut Pro you can receive a higher quality encode than if you allow DVD Studio Pro to do the encoding. There are multiple settings in Compressor, and you can manipulate them to get the best possible encode.

To export through Compressor all you need to do is highlight the sequence in Final Cut Pro that you want to export, select the File menu, drag down to Export, select Using Copressor.

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Often you need to know a few things about the clips that are in your timeline. This is often overlooked but a very powerful way to get quick information about the clips that reside in your
timeline. Well, once again I want to share with you another very useful and powerful tool that you should turn on in your timeline fast menu. It is called clip color in your Avid timeline menu and there are four options to choose from under this heading. The one I want to call your attention to is the Offline setting
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When you select the Offline option all of the clips in your timeline will be colored red. This is very important to know before you begin editing. This will allow you to become aware of the clips that are missing due to either deleted media, hard drives that are not on or a corrupt file. I make sure this is always on and it not only will save you time when you go to export but it will save the dreaded media offline clip in your final output!

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I have found the most efficient way for me to edit is using the three-point editing method. It not only allows me to quickly edit my sequence together but it also very accurate. The best way for me to describe this method to you is simply this: You mark an in and out in your source monitor and then either an in OR and out in your timeline.

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Remember the blue line can also be used as your in to save time. You mark your in and out in the source monitor for the material you want in your timeline and the in or out in your timeline will either dictate the material starting at the in or ending at the out point. This is very simple way to edit and will speed up your workflow. The best way to get familiar with the three-point edit is to practice it and you more than likely end up using it for almost all of your sequences.

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This error occurs when you either don't have a dongle attached or the driver cannot communicate with the dongle properly. The OS will install the incorrect drivers if the dongle is attached during installation necessitating a manual uninstall/reinstall of Avid.

You can manually remove the Sentinel System Driver from your system if your dongle will not be recognized. Sometimes the driver will become corrupted or you may have had the dongle connected to the sytem while the software was being installed.

Step 1. Remove the dongle from the system.
Step 2. Remove the SSD from your system using the Add/Remove programs Utility.
Step 3. Get the Sentinel System Driver install package
Step 4. Reinstall the SSD making sure the dongle is NOT connected to your system.
Step 5. Reconnect the dongle to your system and let the New Found Hardware Wizard find the dongle and driver on it's own.

You may not need to go through all of these steps to reinstall the driver sometimes just simply reinstalling the Avid software and all of it's components will fix the problem but this is a sure way to fix your dongle problems.

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I find it very important to mix down my audio tracks when I am done editing my sequence and I am ready for output. Not only does this keep my audio from being moved it also allows me to put all of audio onto one drive and assures me smooth playback. This is a very simple process that you may want to put into your workflow.

To mix down several edited audio tracks to one or two audio tracks:

1. Load a sequence into the Composer monitor.
2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down.
3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.
If you do not mark the section of audio you want to mix down, the system mixes down all of the selected audio tracks.
4. Select Clip > Audio Mixdown.

The Audio Mixdown dialog box opens. The top of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you selected to mix down.
5. Do one of the following:
Select Mono and select the target track to which you want to mix down the audio.
Select Stereo and select two target tracks for the mixed-down audio.
6. Select a destination drive and a destination bin.
The destination drive is the media drive where the system stores the media files for the mixed-down audio.
7. Click OK.
The audio is mixed down and the Avid system displays the new master clip in the bin.

This is also very useful to save hard drive space. If you have no need to edit the original content again you can now delete the un-mixdowned audio and just save the mixdown version, just make sure you will not to edit the original!

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Using an Image mask in Motion is an easy way to add images into text or graphics. Import an image and some text, it doesn't matter which is on top. Select the image then under the object menu select the Add Image Mask option.

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Often you need to know a few things about the clips that are in your timeline. This is often overlooked but a very powerful way to get quick information about the clips that reside in your
timeline.

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There are quite a few different options under your Avid timeline fast menu so I thought we would start with specific clip information. For my personal workflow I always run with clip name, clip duration and clip resolution. The other options I rarely use and I never run with the clip frame turned on. Of course this is my person preference and you may find the others useful to you. Here is a quick rundown of what each one does for you and the information it will display:

1.Clip Frames: Displays the first frame within a clip in the Timeline.

2.Clip Names: Switches on and off the display of clip names in the Timeline.

3.Clip Durations: Switches on and off the display of clip durations in the Timeline.

4.Clip Comments: Switches on and off the display of clip comments in the Timeline.

5.Source Names: Switches on and off the display of source material names in the Timeline.

6.Media Names: Switches on and off the display of original media file names in the Timeline.

7.Clip Resolutions: Switches on and off the display of the video and audio resolutions of each clip in the Timeline.

Graphics or pictures often come in with a white background that you need to get rid of. With Motion you can get rid of a background in two clicks. Simply highlight the layer you need to remove the background from, click the Add Filters icon, drag down to keying, and click on the Luma Key option. If the image you are keying around appears faded, you simply need to adjust the threshold in the dashboard.

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Beginning in February we are going to start sharing success stories of our customers. We want to share the human side of what we do with everyone who visits our site. From beginners to seasoned producers, everyone has a story. Genius DV has helped countless video producers take their skill to the next level. Some people have benefited by taking structured classes or one on one customized instruction at one of our training centers, while others have utilized Genius DV's on site training services. Whatever the situation, we want to share the benefits with you. We are asking our former clients to share their stories with us. Tell us how your experience with Genius DV helped you in your arena of the video production world. Send us your story at profiles@geniusdv.com.

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To create buttons to use in DVD Studio Pro with Photoshop, you don't have to do anything special. Anything you create in Photoshop can be used as a button in DVD Studio Pro by simply dragging it into the project window and waiting for the popup menu to appear, then selecting the create button option.

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Being able to load a sequence into the source monitor is one of the great features of Avid. Taking certain elements from your sequence and applying them into your timeline is something you will find yourself doing if you work projects that require the use of the same media. The one problem you might find is how do you look at your sequence and its edits without loading them into your record monitor. Avid has a great solution for this and it is called Toggle Source/Record in Timeline. The Toggle Source/Record in Timeline button allows you to view multitrack source material quickly in the Timeline for selecting and marking specific tracks. I use this in all of my editing to select specific portion of my sequence for editing into my new timeline. This is a great feature that you should learn to use to get the exact results you are looking for.

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Filmmaker Robert Lynn previewed his new film Havoc at HD House during the Sundance Film Festival.

Shot with JVC's GY-HD110U ProHD camera, Havoc is a horror/thriller about a team of paintball players who stop at an abandoned prison and encounter a paranoid schizophrenic war veteran who mistakes them for a team of assassins.

"The technology in the GY-HD110U amazes me. I put it through some really rough extremes and it performed flawlessly," says Lynn. "The HD images are truly unbelievable. The ability to change lenses is really a great feature, not to mention the focus assist. It's terrible when you get the exact scene you want and in the editing process you find it's soft. With focus assist, I don't have to worry about this."

Shot at the old Tennessee State Prison, Lynn put the GY-HD110U to the test during rehearsals and the shoot. The camera endured excessive dust stirred up during the shoot, harsh humidity, constant running up and down staircases and direct hits from paintball guns. "I wouldn't have been able to shoot for the entire one take if I didn't have this camera," Lynn adds.

Lynn used JVC's DR-HD100 hard disk drive to capture his HDV 720p images. According to Lynn, "The hard drive saved much time. It worked flawlessly. We took the files right into Final Cut Pro and began the process of editing. No capture log, just one step."

Customized menus in DVD Studio Pro are extremely easy. You can produce them with as little as two jpeg images. Simply prepare your background image in Photoshop, or export a still image from Final Cut Pro, and then create a overlay for your background. They will look like this:

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If you are using audio derived from different sources within your project, you must make sure that all of those files have a sample rate of DV quality such as 48khz. One way to make sure your sample rates are uniform is to use iTunes to convert your files to higher quality 48k DV files before you import them into Final Cut Pro.

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Usually, when you insert a CD, iTunes will automatically launch, but if for some reason it doesn't, click on your iTunes icon to open it.

- In the iTunes menu bar, select preferences and a window opens.

- Click on the Importing icon in the top row of the menu bar to access importing options.

- click the Import Using menu and select AIFF encoder.

- In the settings pop up menu, choose the Custom option to access the AIFF encoder window.

- Select the option for 48khz as the desired sample rate in the drop down window. Set the sample size to 16 bit and the channels to stereo, then click ok.

- Click the Advanced icon in the preferences window.

- Within the iTunes Music Folder Location, create a new music folder for convereted files.

- In the song list window, click on the CD icon, which will in turn open up the cd contents > select the tracks you wish to import by checking the box next to it and deselecting the other boxes > click the import button.

The files will be saved in the folder that you created with the parameters that you have specified.

If you have tried typing in the title tool and all that you get is question marks then you need to make sure that your regional and languages are set up to except the fonts and characters you are tying to type. Follow these few steps and you will get the characters you ask for:

1. Go to Accessories in the system tools in windows XP.

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2. Check the Advanced tab and select the language that contains the character you are trying to type.
3. The next step is to open your regional and language set control panel Locate the character or letter you wish to use, highlight, hit select and copy. Click on the Advanced tab and select the language you are using from the list below. You may have to restart your computer at this time.

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4. Launch your Avid editing software and open your title tool. Position your mouse in the title creation area, and from the Edit Pulldown menu, paste.

You'll now see the character you selected in Character Map in your title tool don’t forget in the title tool, you have to select paste from the Edit pulldown menu; control V does not work.

Wirecast 3 is an amazing tool for Live streaming multiple sources. This tool is available for the Mac and PC. Wirecast allows individuals and organizations to Live Stream to a Windows Media Streaming Server or a QuickTime Streaming Server. This tool goes beyond simple Live streaming also allowing the ability to capture video directly to your hard drive.

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Wirecast acts a a video switcher on your desktop to allowing transitioning between sources via cuts, dissolves, page turns, ripples and many other features. These effects are not "cheezy" but look very professional.

Lets say you are producing a trade show video, that you want to be on a continuous loop, it is easy to do with DVD Studio Pro. After you have imported both your audio and video, you simply drag them into your graphical view and release them. If there is an empty track available, you can drop them into it, if not just let go of the audio and video into empty space in the graphical view, and DVD Studio Pro will create a track for you. Now you will need to right click over the track and set the track to be the first play.

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Next you go into the inspector to set the track up to loop to itself. Opening the end jump menu, you will set the track up to end jump back to itself. This will cause the track to continually loop from it's end to it's beginning.

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Adding mutiple dissolves with Avid Xpress or Media Composer is a simple task. All you need to do is add in-out points for the area in your sequence that requires dissolves. Then click on the Quick Transition button.

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Then make sure you click on the 'Apply to all Transitions Box'. This will add that particular effect to all your edit points between your in-out marks.

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*If you need an effect other than a dissolve that is not listed in the pull-down menu, you can create any effect template that you need. Continue reading on using multiple transitions with Avid if you would like to find out how.

Tricks like these are the types of things we teach in our Avid Xpress courses. If you are looking to expand your knowledge with Avid Xpress or Media Composer, consider some certified training.

Grouping is an effective organizational tool, that keeps the various elements of a project easily navigable. That is as long as you remember what you grouped with what. For example you very well may group the background, graphics and titles separately within the master layer. Having only what you need open makes the interface much less distracting. When trying to group layers or objects in Motion it is better to use the grouping function than adding a layer and trying to drag the layers into the layer individually. It would be very easy to alter the order of the layers that way.

Grouping in Motion is similar to nesting in Final Cut Pro. Simply highlight the layer or objects you wish to group, select the Object menu, and Group function. The key command for Grouping is shift+apple+g. All you have left to do is name the new layer

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Ungrouping is done the same way, but by selecting Ungroup off the Object menu or option+apple+g.

Sometimes the presets for project formats in Motion do not include one for Anamorphic DV (16:9) .If there is not an option for an Anamorphic DV project when opening Motion, you need to choose the custom setting.

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Under Pixel Aspect Ratio, select NTSC D1/DV Anamorphic, and then OK. Also consider setting your field order to none, which will reduce he fuzzy edges in on your graphics.

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When your project opens if it does not look 16:9, you will need to open the view menu, and select correct for aspect ratio.

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To create a preset for NTSC D1/DV Anamorphic simply go to the Motion/Preferences, and select presets. Clicking the + button will bring up a window that will allow you to create a new project preset. Simply edit the information and click OK. The next time you open Motion your new preset will be available to you.

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Genius DV offers comprehensive training in Motion, as well as all of the Final Cut Studio applications. For more information click here.

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There are times in a production when the footage only exists in one format and the user needs it in another. A common example is a 24p project being handed an establishing shot on digibeta. In this case, the footage is interlace, 60 fields at 30 frames per second, while the project type is progressive and 24 frames per second.

Using the Timewarp effect - part of the FluidMotion effects engine in Media Composer Adrenaline HD and Avid Xpress Pro HD - the user can create alternate frame rates and keep the original audio in sync.

The Timewarp effect can be used to create all the frame rate conversions needed. The table below gives all the values needed to crate any frame rate.

1. Create 30I NTSC project
2. Capture shot to be converted
3. Edit onto timeline (V and A)
4. Apply the Timewarp effect from the effects palette
5. Select FluidMotion from the Render Using menu
6. From the Formats menu, select Interlace as input and Progressive as Output
7.Open the Speed graph and enter 125 into value entry box at the bottom of the window.
8. Render

The result will be a progressive clip of the same duration but now running 125% faster. When this clip is imported back into a 23.976p project, it will be slowed down by 25% due to the 1:21 frame relationship. This way, durations remain the same and the original audio remains in sync.

In order to get the clip back into a 23.976p project, export V only as a QuickTime reference and the audio as a WAVE file.

Import these two files back into a 23.976p project and sync the V-only clip with the A- only clip using AutoSync. The result is a sync VA clip in a 23.976 frame progressive format.

When importing the QuickTime file into the 24p project in either Media Composer Adrenaline HD or Avid Xpress Pro HD, the OK and continue.

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A split edit is where the video and audio start or end at different points. This is essential for good editing and helps break up the boring straight cuts. Some good uses for the split edit include: extending the video so that it overlaps the beginning of other audio from the proceeding shot, get a different tempo out of your production, or to fix a bad incoming or outgoing shot. To create a split edit follow these simple steps.

1. Park your blue line where you want to perform your split edit and enter trim mode.
2. Turn off either the video or audio buttons depending on which track you want to extend.
3. Now in dual roller trim mode slide the edit point either right or left on the timeline.
4. Do not exit trim mode until you preview your work while you are still in trim mode. This allows you to make adjustments and watch them as you go.
5. When you are down exit trim mode and sit back and enjoy!


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Having the abilty to render more than one item is very important for savign time during your day. My typical workflow consists of editing my projects in Avid and then adding my effects in After Effects. After I am done I will usually have more than one comp to render by the end of the day. Being able to save all my render time for when I go home for the evening is a must.All the settings for rendering a movie or sequence are included in the Render Queue window. When you drag or place a composition into the Render Queue window, it becomes a render item. You can then queue, or line up, a number of items for rendering, so that After Effects can render multiple items unattended. The settings you change in the Render Queue window affect only rendering and do not change the original compositions.

The top section of the Render Queue window monitors an item that After Effects is rendering. In the bottom section, you can arrange a queue of items to be rendered and specify render settings and output modules for each one.

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If you are new to Avid or a seasoned veteran you may or may not know how to create multiple versions of a setting. Being able to create multiple settings in Avid Express Pro is essential to a fast workflow. I have many different settings for my timeline views and a couple of settings for my keyboard. If you find yourself always resetting some of your settings or views in Avid Express Pro here is a great way to change those settings with a click of the mouse.

1. Choose all settings from the project window.
2. Single-click the setting from the project window that you want to make a duplicate to highlight it.
3. Press Cntl+D to create a copy.
4. Double click the new setting to set it to your custom settings.
5. Now click the name next to your new setting and name it something that will help you remember it for easy retrieval.
6. Now all you need to do is activate these settings by clicking once in the check mark column on the left of the setting in the project window.

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Check out our new listing for Avid classes in Seattle!

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HP workstations are the logical choice if you are going to edit with Avid editing products. Avid spends a lot of R&D time testing and configuring the HP Workstations to run as solid as possible. The HP xw8400 is one of the best solutions for editing with Avid. It is not only one of the most rock solid solutions on the market it is also one of the quickest! The xw8400 is update and used in all of Avid’s testing. Avid supports Avid Xpress Pro, Avid Media Composer, NewsCutter XP and NewsCutter Adrenaline. All of these also support the Mojo and Mojo-SDI. Check out the full details of Avid configurations and also all of the information on the HP xw8400.

One limitation within the standard Avid Xpress or Media Composer title tool is that you cannot create a title that is larger than your project's frame size. In many cases this will be 720 x 480 if you are working within a DV 25 project. If you create a title that extends outside the title tool window the title will be cropped.

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By using the title crawl function, you can create your own moving matte. The trick is to create a giant crawling title and then perform a video mixdown to create a physical piece of media that can then be used in conjunction with a matte key.

dvGarage, inc. has developed a powerful new alternative to working with layers inside Apple's Motion 2. The program is called Conduit and it sits right inside of Motion 2, allowing for refined and multi-pass compositing by way of node manipulation.

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Simply add a filter to an element from within Motion, then set the parameters via the nodes in Conduit, and it is instantly updated in the Motion 2 Environment. Conduit allows you to make changes in real time as playback of the footage is being looped and offers full 32-bit float point quality for higher performance and color precision than Motion offers on its own.

Conduit is being marketed as a tool for the professional editor and designer who desires to perform complex compositing but does not have a need for a more complete program such as Shake. Conduit is on the Market for $149 Dollars.

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When it comes time to export your sequence to any format there are a few things you need to make sure you do to not only have a successful export but to also speed up the time your export will take.

1.Consider rendering all effects in advance. Although any unrendered effects are rendered on export (except for an OMFI or AAF export), rendering effects in advance saves time during the export process.
2. Always render fast-saved titles before using OMFI or AAF to export a sequence, or before creating an EDL from the sequence.
3. If your sequence contains numerous video tracks, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple- track information. For more information about mixing down video tracks, see "Performing a Video Mixdown" in the Help.
4.If your sequence contains numerous audio tracks with various audio effects and level adjustments, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information.
5. If your sequence contains audio clips with different sample rates, use the Change Sample Rate dialog box to ensure that all the clips have the same sample rate. You can also use OMFI or AAF to change the sample rate. See "Exporting OMFI and AAF Files" in the Help.
6. Check and adjust all pan and audio levels in advance. All current Pan and Level settings in the sequence are carried to the exported media. For information on adjusting level and pan.
7. You cannot export OMFI files that are larger than 2 GB. For OMFI files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space. For more information on consolidating media, see "Using the Consolidate Command" in the Help. You can also consolidate as part of the export. See "Exporting OMFI and AAF Files" in the Help.
8. OMFI or AAF files with very complex sequences can fail during import into some applications due to memory limitations. Try one of the following solutions:
1.) Break the sequence into smaller sequences and export the new sequences.
2.) Add more physical memory.
9. To export multiple clips in a single file, create a sequence from them. For example, you can select all the clips, Alt+drag (Windows) or Option+drag (Macintosh) them into the Record monitor to create an instant sequence, and then export the sequence.

At first glance, SoundtrackPro may just seem like a cool way to create looped based music, but recently, GeniusDV has introduced Soundtrack Pro to Law Enforcement Agencies as a viable way to help their forensics department clean up audio that may be crucial to an investigation. That's right, SoundtrackPro can be used for more than just creating techno music and gunshots, but that's not all. Soundtrack Pro gives you the ability to time stretch audio files, allowing you to lengthen the duration of an audio project if it comes in just under the duration that it needs to be. This function works well if your project is coming in just short of the duration. Keep in Mind that if your project contains audio and if you have to perform a substantial stretch to make your project fit, you will be sacfrificing audio quality by way of tempo displacement and distortion. This effect can be applied to an entire audio project or just a section of it. In this excerise, we will only be applying the effect to a portion of a project. Use this function sparingly!

performing a time stretch

1 Open an audio project into Soundtrack Pro.

2 Select the Time Stretch Tool. This tool is located just above the time display area towards the upper left hand corner of the interface. You can also press the T key on your keyboard to activate it

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3 Click and drag across the waveform representation of your project in a horizontal motion. You will see that a selection area that has been highlighted in the project area.

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4 With the Time Stretch Tool active, drag the edge of the section that is highlighted. Dragging the edge to the right increases the duration of your project making the contents play back slower and dragging inward, to the left, will making the selection area shorter, decreasing the length of your program and allowing for a faster play back.

Use your newly discovered power wisely!

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As you now probably know Avid Media Composer is now available in a software only version. You can have all the great benefits of Media Composer without the huge expense of the Adreneline box. Now by all means if you can afford the Adreneline box then you can benefit from it but if you are like most of us out here in the real world you need to check out the software versions of Media Composer. These are a few main reasons I feel you should make the move to Media Composer.

1.Boris Continuum complete AVX, a $1,995USD value included, A powerful add-on package with more than 160 filters, including: Lens Flare, Glint, Match Grain, DeInterlace, Optical Flow, Motion Blur, Wire Remover, and Witness Protection effects.

2.Fully customizable TimeWarp effects.

3.Real-time SpectraMatte.

4.Archive to Tape: Allows a user to store the source media associated with sequences, master clips, sub clips, and group clips to video tape. Users can use this to dramatically reduce the amount of tapes necessary to restore a project as well as transfer to a more robust format that is less susceptible to dropout.

This is only the beginning, for more Check out the Avid web site for complete details!

A great way to achieve authenticity and to really make an effect your own lies in the ability to manipulate the timing of effects! The presets are a quick way to add life to your text but, you are by no means restricted to using canned effects in Live Type. You don't have to settle for a movement that's too fast, or an effect that starts just a hair before its cue or that ends a beat too early. Get the effect that you want and need by getting comfortable changing parameters of premade effects!

To Adjust the Timing of Effects

1 After applying a text preset to a system font, select the effect you want to manipulate in the timeline or simply select the text you typed while using a Live Font in the timeline.

2 Go to the Inspector and click on the Timining tab and you will see the present effects parameters for that given effect.

Don't be afraid to get in here and play around. You may even impress yourself!

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The particle emitter in Motion can create some mind blowing imagery, and applying each of your emitted objects a distinct movement all of its own can really hold the viwer's attention. For example, if you have created an explosion of animated leaf objects at mid-screen in your project, you can create a random seed to make the movement of the leaves seem more realistic.

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Tip
Whithin the Emitter tab of the Inspector, click on the Generate tab in the Random Seed column to change the timing of the animation of the leaves. The motion of the animated leaves should now be offset. Keep tweaking to get the feel you want.

When performing complex animations during keyframing, sometimes the keyframes you set can be obscured by others due to their proximity. If this should happen to you while in LiveType simply:

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1 Click on the keyframe that is obscuring the view of the other.

2 Go to Mark > Next or Previous Keyframe to get to the hidden keyframe for manipulation.

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Being able to capture from a non-timecode source is a very real part of an editors day to day routines. The source may be VHS, CD, DAT or some other source that has no timecode. To capture this material you need to capture on-the-fly.
To capture from a non-timecode source:

1. Click the deck button in the Capture tool.
2. Click once on the Tape Name box.
3. Either select an existing tape name or create a new one.
4. Choose an option from the Timecode Source Menu.
5. Play the material and click the record button.
6. Click the record button when you are done.

This is a very simple way to ingest any material you need to edit. Just remember you cannot recapture this material with the form of timecode you selected you must manually ingest the material again if you lose it.

Check out our hot new Seattle location for your next Avid Class!

When troubleshooting issues that are caused by unusable preference files in Final Cut Pro 5, one thing that you can try is restoring FCP to the default settings. You can attain the default settings by deleting the FCP preference files, therefore resetting configurations such as scratch disk specifications, capture settings, window layouts, and so forth.

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Deleting the Final Cut Pro 5 preference files:

1. Close FCP, if it is open.

2. Click the Finder icon in the Dock.

3. From the Go menu, choose Go to Folder

4. Type: ~/Library/Preferences/ (The tilde"~" refers to your home directory

5. Choose Go.

6. Drag the file named "com.apple.FinalCutPro.plist" to the Trash.

7. Double-click the folder named"Final Cut Pro 5.1 Preferences" to the Trash.

8. Drag the file named "Final Cut Pro 5.) Preferences" to the Trash

9. Drag the file named " Final Cut Pro POA Cache" to the Trash

10. Open FCP and it should be reverted back to it's installed defaults!

If you are a Final Cut Studio or Avid Studio user, you will have access to the Boris FX title tool. This title tool allows you to create 3D text. In Final Cut Pro, it is called Title 3D. For Avid Users, you'll need to use the Avid FX plugin that is located in your effects palette.

So where are the 3D text features of this program? At first glance, it doesn't appear there are any 3D extrusion features build into the software. The trick is to create a solid shadow.

For Final Cut Pro users navigate to the generators menu and select Boris - Title 3D.

boris_title_3d.gif

Then click on the controls tab within the 'Viewer Window' and click on the 'Click for Options' box. I also reccomend clicking on the deinterlace filter box. This will help with the quality of your text when it is rendered out.

title_3d_options.gif

Title 'Title 3D' box should now open, and you can design your title. The trick is to add a 'Solid Shadow' which will make your highlighted text appear as 3D.

solid_shadow.gif

You will find additional controls within the Title 3D window for the opacity, angle, and highlight color of the extrusion.

If you are interested in learning more about the Title 3D title tool or other amazing tips and tricks, consider taking a Final Cut Pro training course.

Avid%20Lock%20bin.jpg

If you want to make sure that none of your material is deleted inside your bin then you need to lock them up. This will assure that your clips, sub-clips, sequences and master clips will not be deleted. You will still be able to modify all of your items as usual but with peace of mind that they cannot be deleted by you or any of your collegues. Here’s the few simple steps you must take to make your editing world safe from deletion.

1. Display the lock settings in you bin by navigating to headings from the fast menu at the bottom of your bin.
2. Click the item you want to lock or select multiple items by shift clicking.
3. Now go to Clip> and lock items in bin,

A lock will now appear next to your chosen items. To unlock you simply select the item you want to unlock and navigate to Clip>Unlock Bin Selection.

Don’t forget to sign up for the up and coming Avid class in Seattle. Seating is very limited and time is running out!

One of the most frequently asked questions circulating through the DV forums today has to be "How do I make my video look more like film?" There are many things on the current market that can help you achieve the film aesthetic. If you are shooting with a 24p camera, then you are already ahead of the game. One such powerful tool is the long awaited Cinelook 2 from DigiEffects. Version 2 will support Apple Motion, Final Cut Pro and Adobe After Effects with faster render times.

cinelook.jpg

The Film Motion plug-in has also been integrated into this version of Cinelook 2 allowing you to perform a believable simulation of 24 frames per second film playing on 60 fields per second video. This is great for producers who are not using a 24p camera in light of the fact that when shooting in 24pa (Advanced) a program like Final Cut Pro can perform the 3:2 pulldown during capture.

Interlace reduction and a built in color gradient has also been added to the mix. Support for a-typical frame rates such as 10, 12, and 16 FPS is also included as well as for PAL and NTSC sources.

If you will be using After Effects, you will have the choice of working with Cinelook 2 in a Custom User Interface or in the Standard Control Panel with the the Custom UI only available in A.E. Take a look at some of the extra plug-ins included with Cinelook 2:

AcidWash
Adaptive Grain
Banding Reducer
Bleach Bypass
Day for Night
Film Flash
Film Motion (built-in to CineLook2 or separate)
Fingerprints
Gate Weave
Grain Reducer
Handwritten Text
Letterbox
Light Leaks
SkinnyLook
Soft Focus
Solarize
Vignette
Film Damage plug-in

DigiEffects plans to add six more plug-ins to the list.

Getting your video footage to look filmic will always be more than just capturing images at 24 frames per second and using great wares such as Cinelook2. Lighting, camera movement, and shot selection play an important role in the look we have all become accustomed to in our trips to the cinema. Not to mention a good story.

With the use of streaming media for MPEG-4 being more prevalent many need to keep in mind the licensing requirements for MPEG-4. The good thing about the licensing for MPEG-4 content is it is mainly targeting towards those individuals or organizations that are making money off of streaming MPEG-4 content. Here are some of the details under the MPEGLA MPEG-4 Visual Patent Portfolio License:

MPEGLA.jpg

Get more details about the MPEG-4 Visual Patent Portfolio License

On a Subscription-basis, royalty fees need to be paid if you have more than 100,000 subscribers in a Calendar Year. There are no royalty fees that need to be paid if you have 100,000 or less subscribers in a Calendar Year. The maximum that any entity has to pay is $300,000 for greater than 25,000,000 subscribers.

"In cases where a user's products or services do not reach the minimum threshold amounts above which royalties are payable, the user would still need to conclude the MPEG-4 Visual License with MPEG LA in order to benefit from the coverage the License provides," says Dane E. Rauschenberg, Licensing Associate for MPEG LA.

On a Title-by-Title basis, royalties paid are the lower of 2% of the price paid to the Licensee or $0.02 per title for video greater than 12 minutes. A good thing is that there is is no royalty for a specific title of 12 minutes or less.

This MPEG-4 licensing information only pertains to Visual content. It does not include audio.

If you would like to find out more information and details about MPEG-4 audio licensing you check out these websites:

www.sisvel.com
www.vialicensing.com
www.fraunhofer.de
www.licensing.philips.com

As there is licensing that applies to MPEG-4 Part 2 there is also licensing that applies to H.264. It is similar in nature and requires reporting to MPEGLA yearly. In many cases individuals that are not making money from streaming don't have to worry about paying anything. However they will still need to do some semi-annual reporting to be covered by the MPEG-4 and H.264 license. MPEGLA has PowerPoint presentations on their website for MPEG-4 Part 2 and H.264/AVC licensing.

Note: For more information contact Dane E. Rauschenberg at MPEG LA

avid%20and%20Charlotte%27s%20Web.jpg

Avid has spun itself another huge with Charlotte’s Web. The filmmakers used multiple Avid Media Composer Adrenaline systems connected to an Avid Unity MediaNetwork on location and at the studio to handle the massive amount of source material and provide cuts in progress to visual effects houses. Avid Xpress Pro software on a laptop was used at the director’s home to cut storyboards during pre-production.The editors used the Media Composer Adrenaline system to work with as many as 10 layers at a time, compositing and rendering the effects to ensure that all of the elements came together smoothly in a given scene. "We couldn’t have done it without the AniMatte tool. We were always comping all of these layers together," says Plisco "For example, the geese were always shot by themselves because they were so feisty and could not be in scenes with the other animals, so they’d always be on a separate plate. I can’t imagine another system being able to handle what we did." -Sabrina Pilsco, Editor, Charlottes Web
He used Avid Xpress Pro software on his own Macintosh laptop during pre-production to handle pre-visualization tasks quickly and conveniently at home. Explains Plisco, "During the storyboard phase, he would work with our additional editor on the Media Composer Adrenaline system in the editing suite, and then he would literally take the laptop home and work on the storyboards himself, so he could refine what camera angles and shots he wanted. It really helped him plan production."
For more check out the official web site and don’t forget to sign up for the up and coming Seattle Avid 119-129course, Feb 5th-9th!

A quick way to animate an object in your Motion project is to record the changes that you make to the parameters of the object during playback. You can also set how the keyframes are to be recorded by going into the recording options by navigating to Mark > Recording Options in the Motion main menu. Your choices are Reduced and Peaks Only. The Reduced option will create a more simple curve by adding fewer keyframes and the Peaks Only option will only record keyframes for large parameter shifts such as a sharp change in direction.

Recording Keyframes During Playback

1 After you have added the object that you want to animate to your project. You can choose one of the following options:

- Press A on the keyboard

- Click the Record button located in the Transport Controls of the Canvas Window.

- Go to Mark > Record Animation.

2 Click the Play button in the Transport Controls.

3 Move the object on Canvas. You will now see that with each movement has been recorded according to your settings in the the Recording Options dialog.

MotionPath1.jpg

4 Press the stop button

5 Click the record button or press A to stop recording and review the animation you have just created.

You can manipulate the animation by clicking and dragging the control points in the motion path or by going into the Keyframe editor located in the Timing Pane.

keyframeditor.jpg

It is inevitable that after you have finished creating a motion path in Final Cut Pro you will need to go back and make adjustments to keyframes, or even remove some of them. Adjusting a keyframe's position is as simple as using the selection tool to drag them around. Here are a couple of ways to delete keyframes:

image and wireframe.jpg

- Control-click (with a one button mouse) a keyframe or Right-click (with a two button mouse) a keyframe, then choose delete from the pop-up menu. Or....

- Select the pen tool, then Option-click a keyframe to delete it from the motion path.

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