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August 2007 Archives

When you are working on an extensive project containing a large number of bins, its can become rather easy to lose track of the where-abouts of select clips. The search functionality within Final Cut Pro can help you locate multiple items within a project fast.


Searching For Items In The Browser Window

1 Make sure that the browser window is active by clicking in it.

2 Press Command F and the Find dialog box will open.

3 Set your search criteria and click Find All. The Find Results window will open listing the results of your search criteria.

Keep in mind that the results listed in the Find Results window are not copies of original files, they are the actual files.


Two products nominated for a Streaming Media Magazine's 2007 Readers' Choice Awards where featured on a previous DVShow podcast June 25, 2007 Podcast. Both Proclaim and Wowza Media Server Pro where highlighted on the podcast. Host, Brian Alves, and Video Streaming and Compression Specialist for GeniusDV, Derrick Freeman, interviewed Gary Anderson, President and CEO for NetBriefings and Dave Stubenvoll, CEO and Co-Founder of Wowza Media Systems. Listen to the program to get a better feel and understanding of the two products.

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When working in Final Cut Pro, you may find it easier to use the 'keyframe editor' instead of the Filter or Motion tab. You may find the Filters or Motion tab(s) difficult to work with, because the default size of the keyframe area is squeezed within the Viewer Window.

The keyframe editor within the Final Cut Pro timeline will give you a lot more room to plot keyframes. To expand the size of the keyframe editor do the following:

Click on the 'Toggle Clip Keyframes' overlay button in the bottom left corner of the timeline window.



The latest edition of the DV Show for August 20, 2007 features video streaming and compression and what tools every video editor and multimedia specialist needs to have in their arsenal.

Topics discussed include:

Wowza Media Server
Sorenson Squeeze Compression Suite
QuickTime Pro
MPEG Streamclip

Final Cut Studio 2.0 provides for excellent integration of Apple Motion. The key is to learn when it's appropriate to use Apple Motion instead of doing the same task within Final Cut Pro.


A great example would be if you need a clean chroma key. You may have noticed that standard built in Chroma Key plug-ins that ship with Final Cut Pro sometimes do not provide the best controls for obtaining a good looking key.

That's where Motion comes to the rescue! Follow this short tutorial on how to send your Chroma Key elements into Motion so you can use the 'Primatte RT' filter. I think you'll find that the process is fairly easy, and you'll end up with a better key.

In case you missed it, Paramount and Dreamworks announced that they will release their upcoming titles exclusively on the HD DVD format.


It looked like the Blu Ray format had the early lead, but now with Paramount and Dreamwork's announcement, it's anyone's guess.

Currently, Apple's DVD Studio Pro does not support burning of Blu Ray DVD's. It does support authoring for HD DVD's however. On a strange note, the DVD player included with Mac OS X can only play HD DVD's that were authored in DVD Studio Pro. This is true even if a compatible HD DVD player is connected to the system.

I hope the industry eventually decides on one format. Otherwise, things are going to be ugly in terms of compatibility issues. If one format doesn't win, the consumer will pay higher costs for players and burners. Just imagine, this would mean that you'd need to buy both a Blu Ray or HD DVD player in order to play both formats. Or, we'll pay a higher price for some sort of hybrid player that can handle both disks.

Crazy Sexy Cancer is a documentary you need to take a close look at. This is a great story I wanted to make sure everyone had a chance to check out. Not only does this story talk about the power of had and its ability to handle all types of media shot under all conditions but truly the power of people.
When Avid editor Brian Fassett was presented with a batch of 25 MiniDV tapes and a request to create a promotional trailer out of the footage, little did he know the project would turn into a life-changing experience.
In order to bring the story to life, Fassett set up a home-based workflow that initially consisted of an Avid Xpress system running on a Macintosh G4 desktop. Because Fassett was digitizing at DV25 resolution, he was quickly maxing out his storage capacity, so he kept adding 180- and 200-gigabyte FireWire drives to his rig. As cumbersome as it was, the system performed well and got Fassett and Carr through the critical, early phase of the project.


Check out the complete story and do not forget to sign up for our next Avid training class and get on your way to producing the next great film!

Did you know Final Cut Pro has a built-in title generator called Title 3D? It allows you to create dynamic looking titles similar to those you could create in Apple's LiveType.


So if you need a cool looking title, and you don't want to use Apple's LiveType, here is an easy tutorial on how to animate individual letters within Title 3D.

Have you ever noticed when you author a DVD, that sometimes it will look perfectly fine on your television set, but then it will look horrible when you play it back on your LCD computer screen? Click on the picture(s) below and you'll see what I'm talking about.


Here's the problem:

DV-NTSC is an interlaced video format that draws all the even fields first, and then all the odd fields next. This is perfectly fine when played back on an interlaced television.

However, when you play an interlaced movie on a progressive monitor, such as a computer monitor, you end up seeing both odd and even fields blended into one frame. The result often looks terrible, especially on shots with a lot of motion.

If you are running short on time, and you have a voice-over track where the audio is inconsistent, what do you do?


Well, fortunately there is a quick fix that may help you compress the audio levels so you do not need to spot check every single edit. It’s called compressor / limiter. Here is out it works:

When using Avid Xpress or Media Composer, make sure you have the video quality menu button set to solid green when you are laying back to tape.


A critical mistake is to leave this button set to 'yellow' or 'yellow/green', because you won't be outputting at full quality.


Solid Yellow: 1/16 single field quality (optimum for heavy effects editing with maximum real-time effects)

Yellow / Green: 1/4 single field quality (default setting)

Solid Green: Full Quality with both fields

You can perform a fit to fill edit with multiple selected clips in the Browser by marking in an out points for multiple clips, selecting those clips in the Browser and dragging the top selection to the Fit To Fill overlay button located in the Canvas Window. You can either set in and out points in the Timeline or you can simply place the playhead over the clip where you want to start the edit and FCP will replace each consecutive clip in the timeline with each clip you had selected in the Browser Window. If you have chose more clips in the Browser than you have in your timeline, then you will recieve an "insufficient content for edit" error.

With this being said, you will likely find it much more practical to perform this procedure with a single clip at a time due to the nature of Fit to Fill procedure, which we will discuss later.

Performing a Fit To Fill Edit with a Single Clip

1 Make sure you have the destination track selected for the edit.


2 You can either set in and out points for the edit in the Timline or in the Canvas Window or park the playhead over the clip you wish to replace. In this example, I have chose simply to park over the targeted clip. Keep in mind that you can also park the playhead over a gap you wish to fill in the timeline as well.


3 Double click on a clip in the Browser to load it into the Viewer.

4 Set your in and out points for the clip.


5 Drag the clip from the Viewer over to the Canvas Window overlay marked Fit To Fill, then release. You will see that the clip in the Viewer has replaced the designated clip in the Timeline.


There is a very significant consequence to utilizing the Fit To Fill feature that is woven into the very nature of its functionality and that is: the speed of the clip that you are editing into the sequence will be adjusted so that the clip can fill that space without changing the length of the overall sequence. For instance, if you placed a clip with a three second duration into a gap that has a duration of seven seconds, the clip will have to be played back at a slower speed in order to fill that gap. The same logic applies if the duration of the clip is longer than the duration of the gap that it is filling. The clip would have to play back faster in order to maintain the finite duration of the sequence.

If you are an Avid Xpress or Media Composer user, you've probably discovered that when you perform a motion effect, the audio doesn't slow down with the video.


To have matching audio that is 'time compressed', you will need to use an audio suite filter called 'time compression expansion. Better yet, you can change the speed of the audio without changing it's pitch. Here is how it works:

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

July 2007 is the previous archive.

September 2007 is the next archive.

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