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Monthly Archive for December, 2005
This article details what timecode is, how it gets broken, how to avoid this, and how to fix it.
What is timecode?
While your camcorder is recording images at about 30 frames per second (NTSC) or about 25 (PAL), it is also recording a timecode number for each frame, measured in hours, minutes, seconds, and frames.
Imagine a long street with a string of houses stretching for miles. Each house has its own unique address, just like each frame of video has its own unique timecode number. Timecode comes in very handy for many reasons. With a …
Featuring your subject is a very important element of shot composition. This means that, just like a sentence, every shot should have a clear subject.
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High-quality converter for MPEG files and transport streams, now with AVI/DivX export. MPEG Streamclip is an application that converts MPEG files (including transport streams) into muxed, demuxed, QuickTime, AVI and DV files.
One big difference between video and film is that some film cameras can be cranked up to much higher than 24 frames per second, capturing full frames 75 or 100 times per second, making for perfect, silky-smooth slo-mo.
The only way to approach this effect in video is to interpolate pixels between frames. (Most programs simply dissolve between slower frames which is definitely not the same thing!
Twixtor is a software plugin that enables you to speed up, slow down or frame rate convert your image sequences. Twixtor synthesizes unique new frames by warping and interpolating frames of the original sequence… employing …
Final Cut has several file types, stored in different places:
1. First, there’s your Project file. This is the most important file- and in fact, if all the media in your project came from DV tapes or built-in elements like titles or color mattes, this is the only file you actually need to move to another computer.
If you move this file, and re-batch capture your clips, and rerender, you’ll back back to where you were on the other computer.
But usually you’ll want to bring other files with you. The next file type would be:
2. Your video files - these are …
For footage shot in the 4:3 aspect ratio, you can achieve the letterbox look by taking advantage of Final Cut Pro’s built in filters. Providing you shot the footage with this in mind, you won’t be masking out anything important such as the top of a persons head or other important elements. If you don’t have a widescreen monitor or flipout screen, one tip is to use black tape over the top and bottom of your viewfinder or field monitor to frame your shots. After completion of your edit follow these steps to apply the letterbox mask.
…
The red line at the top of the timeline indicates that the clip must be rendered before it will play back.
This could result from many things, such as having many intensive filters applied to the clip and being in “Safe” RT Mode.
But for novices, nine times out of ten, the reason the clip “redlines” is because the sequence settings do not match the footage type you are dropping into it.
Check the clip format by highlighting it and pressing Cmd 9.
Check the sequence format by clicking in an empty area of …
One good option is dubbing your analog footage to a DV or HDV tape with the analog inputs of your camcorder. That way, your footage has been digitized and timecoded, and is ready to capture via FireWire into your system as if it had been shot on digital.
If you have Hi-8 footage, there are Sony “digital 8″ camcorders with Firewire that will transfer Hi-8 footage (no timecode, though) directly into your computer.
This method has a lot of advantages- your footage is more convenient if you wish to use it in other projects or re-edit your project, it will last longer …
When you finish a project, save:
- Your latest Final Cut project file, any Motion, Soundtrack, or LiveType project files
- Any media you created in other software, e.g., Photoshop graphics, 3D animations, music, etc.
This should easily fit on a CD-R or DVD-R.
It often makes sense to print your project to tape for an easy recapture to make certain changes. If you’re using DV, print to tape without any titles or graphics to preserve quality.
Your source video still exists on your source tapes (don’t erase them!) and can be re-batch captured anytime.
Some key differences between Pro and Express:
- Express is DV and HDV only (NTSC and PAL frame rates only, no 24fps support).
- Pro supports 3rd party capture cards.
- Pro supports tape logging and capture later, in Final Cut Express you must capture as you go, however, FCE 3 and above has "Recapture Project" which enables you to recapture individual clips or a whole project by timecode from the source tapes.
- Pro includes support for RS-422 control.
- Pro users can use OfflineRT, Express can not, but
…
To use still images in a Final Cut timeline, use one of the following formats:
- TIFF
- PICT (uncompressed)
- PNG
- .PSD RGB (NOT CMYK)
For 100% size, use 72 dpi. 24 bit color (or 32 with Alpha channel) looks the best.
Save your original Photoshop or Fireworks file, then “Merge Down” (to rasterize layer effects like glows and drop shadows, FCP will not import those).
Finally, resize your images to the right dimensions:
DV NTSC 720 x 480 (non-square pixels)
DV PAL 720 x 576 (non-square pixels)
1080i HD 1920 x 1080 (square pixels)
720p HD 1280 x 720 (square pixels)
Then save under a different name and import into FCP.
STILL IMAGE ZOOMS …
If you are on Mac OS X, the best answer is to download the trial of DV Kitchen and read the manual. Also watch the movies on these pages:
http://www.dvcreators.net/dv-kitchen/
http://dvcreators.net/dv-kitchen/features/samplelab
http://dvcreators.net/dv-kitchen/features/timefreezer
http://dvcreators.net/dv-kitchen/features/bitrate-budget-calculator
Download the free trial of DV Kitchen here.
Ask a question about web video here: http://www.dvcreators.net/discuss/n…o=newthread&f=8
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