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June 2007 Archives

If you plan on exporting your Final Cut Pro sequence as a QuickTime movie, you may want to consider applying a de-interlace filter to your entire sequence. This is especially true for moving elements such as crawling text.

Also, if you do not plan on laying back to tape through the firewire port, you might consider exporting your QuickTime movie using a different codec. This will improve the quality of your graphics. Compressing graphics with the DV codec will cause them to lose quality since DV is compressed 5:1.


Catch the excitement at the WebVideo Summit 2007 in San Jose, California June 27 - 28. The conference is about video distributed over the Internet, bringing together the pioneers of an exploding industry. They'll explain what you need to know about shooting, editing and encoding, distributing and promoting your work, and claiming your rewards.

WebVideo Summit above all is practical: real choices, working techniques, and field-hardened creators. They've all been asked to throw away the usual powerpoints, and get to the crucial topics the audience needs to understand. Tomorrow we'll provide more details about the various sessions at the conference.


You can learn about Sawmill, Proclaim and Wowza Media Server Pro on the latest installment of the DV Show. Derrick Freeman, Video Streaming and Compression Specialist for GeniusDV recently co-hosted a radio program with Host of the DV Show Brian Alves.


Understanding how to add closed captions for Flash video will probably be a popular challenge for many in the near future. At Flashforward2007 there will be a session on Wednesday, September 19 at 4:30 PM that covers the topic.

A new key feature in Final Cut Pro 6.0 is the ability to make subclips 'indepedent'. This may not sound like a big deal, but it's a fantastic feature when it comes to managing and archiving your media within Final Cut Pro.

Here's how it works using a typical example:

As we promote this years Flashforward conference Septemeber 19- 21 in Boston we want to mention another interesting session related to streaming video. On Friday, September 21st at 1:30pm there is a session titled "Fun with Flash Media Server". In this session, developers of all levels will gain an understanding of the powerful tools offered by Flash Media Server to work with video, audio, and data. With the developer license now being free, Flash Media Server is an even more attractive solution for small-scale commercial applications. Lisa Larson of go:toGroup will walk through how Flash Media Server works, and show attendees how to set up a development environment and dive into the server-side and client-side communication classes. Alternative RTMP servers will also be discussed.


This session will demystify Flash Media Server - exploring its basic structure, what it can and can't do, and why you'd want to use it in your applications. You can use Flash Media Server for simply streaming video or audio...but your head will likely be filled with ideas for much richer applications by the end of this training session.

If your a seasoned Final Cut Pro user, you may have figured out that managing how clips are named is a crucial step to managing your media.

In previous versions of Final Cut Pro, renaming a clip in the Browser window meant that it's referenced media no longer had a matching name. This could be disastrous if you attempted to manage your media (archive your media) for a later time.

New to Final Cut Pro 6.0 there is a function in the Browser will automatically match your clip names to their refernced media file names.


If you need to get video files off an authored DVD free of copyrights for the purpose of editing the videos in Final Cut Pro, there are two multimedia tools that can help you do this. They are Mac the Ripper and MPEG Streamclip.

Mac the Ripper


Mac the Ripper is available for download and can be used to extract video (VOB) files off an authored DVD free of copyrights. The process is quite simple using this tool.

MPEG Streamclip


Once you get the VOB files extracted from your DVD you can import the files into MPEG Streamclip and then convert the files into DV/DVCPro, DVCPro50, or any other QuickTime video codec you choose.

There is a free media management tool for Avid Xpress / Media Composer that allows you to easily identify OMF or MXF files on your hard-drives. This software is only available for Windows users.


The current release is (build 19 pre-beta 0.3). I've tested it with media recorded from Avid Xpress 5.7, and Media Composer 2.5 It seems to work perfectly fine.

A media management tool is an absolutely necessity for anyone who uses Avid Xpress or Media Composer software.

If you are looking for a commercial Media Management Tool, you can always check out 'Media Mover 3.0' which is available for OS X and Windows. A free working evaluation version is available.


Media Mover has long been the stable Media Management software for Avid users, and has been recently upgraded,

New features in MediaMover 3.0:
-- Compatible with all Avid media formats - MXF, OMF, AIF, SDII, WAV
-- Works with local storage, Avid Unity or any other SAN storage system
-- Supports all Avid editing systems
-- OS X and Windows versions available
-- Dynamic storage space monitoring
-- Generates detailed reports on each project's media
-- Integrated backup function makes archiving projects easy

Final Cut Pro 6.0 now includes several new generators that can be accessed under the 'Generators menu' within the Final Cut Pro Viewer window.


These generator's can be keyframed within the Control's tab to create animated textures.


One of the new features in the Final Cut Studio 2.0 suite of programs is the ability to integrate motion templates directly within a Final Cut Pro sequence.

This new feature really ehances the integration between Apple Motion 2.0 and Final Cut Pro 6.0.


Final Cut Pro 6.0 also provides a better real-time engine with the ability to play Motion templates in real-time directly witin the Final Cut Pro timeline.

When you first open LiveType, you will see within the Canvas Window a blue line representing an empty track. Type something into the Text Entry box located to the upper right of the Canavas In the Inspector Window.


Making a Curved Track

1 While pressing the control key or right clicking if you have a two button mouse, click anywhere on the blue line and choose Add Control Point from the menu that appears.

2 You can now drag the control point and the end points to create a new angle.

3 Control click or right click the new control point that you have just created and choose Curve In from the menu.

4 Drag the new point (Bezier Handle) to create a curve.

5 Right click or control click the original control point you created again and choose Curve In.

6 Adjust the new Bezier Handle.

Imagine that you have been working on a magazine style segment for a local news station that debuts some of the less traveled areas of your state, for a light news segment called 'On The Backroads.' You have built a beautiful segment complete with interviews, eye-catching cut-aways and some nice atmospheric music. Now, how do you end this masterpiece without it feeling like your piece just abruptly cuts off at the end. How about backtiming an audio clip to give a soft, natural ending to your piece?


Backtiming A Clip:

- Set the area where you want the music to start in the timeline by creating an in point and place your out point at the end of your sequence where the action stops.

- Load your audio clip into the viewer and set an out point at the end of your music clip.

- Make sure your tracks are patched properly so that you will only be editing into the audio track, then make your edit. Your music will end at the out point that you specified in the timeline and backtrack to the in point, giving you a natural ending.

If you've ever editing a long-format program, I am sure you have come across a situation where you can't seem to find a certain clip that you have edited to the Avid Xpress timeline. Or worse yet, you have having problems with trying to figure out whether a certain clip has been used somehwere else in the timeline.

Did you know you can turn on clip colors in your bin and display those colors for clips in the timeline?


You will need to do 2 things. First, you'll need to display the (color) heading in your bin, and assign some colors to your clips.

Next, you need to navigate to your timeline menu and select Clip Colors - Source Colors. Save the insanity! Don't lose track of clips again.

There are two types of text that you can utilize in LiveType, system fonts and live fonts. System fonts are plane text that you can later modify by keyframing or adding an assortment of presets and live fonts are a library of fonts that are already fully animated. In this example we will take a system font and add a preset to bring it to life.

1 Go to the Textures Tab and click on it to choose a background so that we can see our text better. Simply click on a texture selection, then click the button at the bottom of the pane marked Apply To New Track.

2 Go to the Font Tab and choose the Apple Chancery font from the list, then click Apply To New Track and type something into the Text Entry field in the Inspector Window. You will have to click into the text entry field before you start typing in order to get a cursor.


3 Find the Effects tab and choose Celebrate from the list, then click Apply at the bottom. Keep in my that the text track is still selected when you are applying the effect. Always make sure that the appropriate track is active before applying an effect preset. Press the spacebar to preview your animated text.


Be sure to check out LiveTypeCentral

In this second part to our write-up about understanding field order in Compressor, Episode Pro and Sorenson Squeeze Compression Suite, we'll look at how Episode Pro labels field order. To find the options for Field order in Episode Pro you need to navigate to the Video Tab of your compression preset.


At times, you may find it useful to enlarge the tracks that you are working in for a better view. Simply select the track or tracks that you wish to enlarge


and press Control L, for PC, or Command L, for a Mac, to enlarge the selected tracks. Press CTRL K or Command K to decrease the size of the tracks.


This multipart write-up will give you a better understanding of Field Order in Compressor, Episode Pro and Sorenson Squeeze Compression Suite. First of all, video uses two fields and when you are encoding interlaced sources you need to be able to recognize how the field order is labeled so you can remove a field if necessary. Field Order is also known as Field Dominance. When you see references such Even, Lower, Lower Field First and Bottom, this refers to the Second field. Odd, Upper, Upper Field and Top refers to the First field.


With that said lets look first at how Compressor displays field order in the Deinterlace filter. Notice under Algorithm there are 4 options but I want to focus on three, Blur, Even and Odd. Selecting the Blur algorithm inside the Deinterlace filter during encoding actually blurs the Odd and Even fields. Choosing Even for the algorithm will deinterlace the video source during encoding keeping the Even field and getting rid of the Odd field. Choosing Odd for the algorithm deinterlaces the video during encoding keeping the Odd field and removing the Even field.

A great way to learn LiveType or even Motion is to open up one of the pre-made templates and examine it carefully. When you open a template in LiveType, you have the benefit of being able to view every element, effect and the relationships used to forge that particular piece. Pick it apart, change and replace elements, try to recreate it in another project. You're not confined to a world made of presets! Since their is very little literature out there for LiveType, here is how to get to the presets:


1 Go to File > Open Template and peruse through the categories.

2 Select the format you will be working in (NTSC, PAL, HD) then choose a template and click the OK button.

By selecting a title clip in the timeline, the text opens up in the Text Entry Box for manipulation. The same goes for the other elements of the template.


In continuing in our discussion of deinterlacing video sources with Sorenson Squeeze, let's apply a deinterlace filter to your interlaced video source. I'll assume you know how to import your video source into Sorenson Squeeze Compression Suite.


To apply a deinterlace filter select the Generic Web filter under the Filter settings and click the plus symbol to create a copy of the filter preset. Once the Filter Window opens you can name the filter whatever you want.


This is an image of the Preview Window in Sorenson Squeeze Compression Suite which shows an interlaced video source. You'll notice that the right side of the image above shows interlacing. When you see interlacing in a video source it looks like a "comb effect". The right side of the image looks smooth and shows the result of applying a deinterlace filter. What deinterlacing does is removes one of the fields from the video source and instead of two fields the final output file will only have one field. So basically the Lower or Upper field is removed during Deinterlacing. Understanding deinterlacing and how to properly deinterlace sources is key to understanding the many video compression applications that are out today and getting the results you want. In part two of this series I'll walk you through the steps of appying a deinterlace filter in Sorenson Squeeze Compression Suite.

For many users that work with Final Cut Pro, many times it will be helpful to encode your video from DV/DVCPro, Animation, Uncompressed or other Quicktime formats to DVCPro50. For this purpose Compressor is a great tool to use.


You can easily drag all the source files you desire to convert to the Batch Window. Then select all the files you want to convert to DVCPro50 and apply the DVCPro50 preset from the Advanced Format Conversion presets. This will designate all of your files for conversion to DVCPro50. Click Submit to begin your encoding.

When you click on the Clip Overlays button at the bottom left corner of the Final Cut Pro timeline,


you are then able to view the keyframe parameters that you have set for both video and audio clips. The graph is broken down into four parts: the Motion Bar, Filter Bar, Keyframe Editor, and the Speed Indicator Area. A handy function to be aware of is that you can choose to either hide or display these parameters depending on which you are currently working in.

Control click the clip overlays button. Your choices in the pop-up menu are to either view the keyframe parameters for Video, Audio, Display (Select) all parameters or Display (Select) none.


In this particular example, I placed a Sepia Filter on my clip, represented by the green bar, and I made an opacity adjustment which is represented by the blue bar. If I only wanted to see the filter parameter I could choose to hide all of the others by unchecking them in the video sub menu.

If you wanted to make an adjustment to the filter in the Keyframe Editor, you would control-click or right click in the Keyframe Editor area and choose the name of the filter that was applied from the list. A thin green rubberband will appear, giving you the chance to use the pen tool to set keyframes and make adjustements.



In terms of easy workflow for getting videos to a Web server, FTP Server or a Streaming Server, there's no better compression tool to do the job than Sorenson Squeeze 4.5 Compression Suite. The tool is simply amazing. If you have a scenario where you want to compression 15-20 videos or more you can set-up a Watch Folder using Squeeze 4.5 where all the videos that are copied to the Watch Folder can be encoded with a specific set of compression settings. What's unique about Sorenson Squeeze 4.5 Compression Suite is you can make the output of the Watch Folder automatically FTP to a Web Server, FTP Server or Streaming Server saving editors, producers, web designers and compressionists precious time and headache uploading videos files.

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This page is an archive of entries from June 2007 listed from newest to oldest.

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July 2007 is the next archive.

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