be willing to do a tutor session on my system?

email at:

grchavez@cps-satx.com

thanks

you know, for money.

Sorry - I'm not in San Antonio, or I'd help you out. But I was out there last summer at SIGGRAPH and was very impressed with the town.

What is your system, maybe I can point you in a direction or two?

Howdy ho, a few months back I sought help with my IOMEGA 120GB Firewire external drive. I've been using this *free* drive to digitize video and audio using an Adaptec PCI card and FCP4. All warned that Iomega was not a "supported drive" but since it worked 3/4 of the time, I plugged on. Now that I've amassed 23 minutes of my rough-cut in three sequences on a timeline that links to this god for saken drive (feeling rather dramatic today) I went ahead and plunked a LACIE 120 GB drive on my credit card.

Tomorrow when the new and hopefully reliable LACIE arrives, I'll want to move all my media from the IOMEGA over to her. Will I be able to reconnect media moved to a new drive from my working timeline? My thought was to daisy chain the two drives, mirror the LACIE to the IOMEGA in its formatting, move all the media over and then try reconnecting media from within my working timeline. Will the project reject this as each rendered file had IOMEGA as its address? I'm hoping I can move the media, reconnect it and render it if necessary - I just don't want to have to make a movie as I am still editing.

Thanks again for your words of wisdom.

Beth,
Good for you! (Getting a more standard Firewire drive, that is.)

I've not worked with the Iomega drives (thankfully) but, yes, you have the basic process in-hand. The dance steps I would follow are:

1. Format the new drive on your Mac.

2. Connect it (either daisy-chain to the Iomega or use your 2nd FW port if you have one).

3. Copy your footage to the new drive.

4. Disconnect the Iomega.

5. Open FCP4 and your project. You should immediately get a nastygram advising you that FCP can't find your footage. It should also give you the opportunity to Reconnect the footage file. Take FCP up on this offer.

6. It will then open a list dialog box letting you navigate to the new footage file location. After you point to one file on the new drive it should be able to automatically re-link the rest of them from that drive (unless you've told FCP otherwise).

It sounds gnarly but it's pretty simple.

Good luck.

Thank you Ken - you are so there for us! I am making quicktime movies of each of my threads as backup in case all is lost.

Will let you know how it goes.

Hey everyone,

Multi-part, big post ahead...

I've read through the extensive threads on manipulating photos to give them more life, seen the recommendations on simpler programs but I'd prefer to learn it right on either FCP3 or After Effects - I have both.

1) Here's what I'd ultimately like to achieve and maybe you guys can tell me which program I should learn on (I suspect AE):

My wedding gift to my brother is a video of everything from the bridal showers to bachelor/(ette) parties to the day after. For the bachelorette party, I obviously wasn't here and they only took digital photos.

As I plan to only shoot and edit more projects in the future, I figured this would be a perfect opportunity to really knock out a photo montage - more than just panning, zooming and tilting but even try out some of those shots (like you see in credit sequences or in 'Kid Stays In The Picture') where they move the subjects across the photo.

I should just learn to tackle AE for heavy duty photo manipulation, shouldn't I? If so, where might I find the tutorials/help I'm looking for? This, http://www.creativecow.net/articles/aftereffects5_5.html, was helpful but isn't the final solution to my needs. Thanks!

2) Having said that, I toyed around immediately in FCP3 with one of these photos they took. They are all 1704 x 2272. In the viewer, the picture is crystal clear but...

a) When I dragged the finished, choppy zoom into the timeline, it popped up in the canvas SERIOUSLY degraded. Very fuzzy. I was wondering why? Is it an issue of the proportions of the photo? Is it just an FCP quirk, wherein it will show up clear once you output it?

b) As a test, I did a zoom from 100% to 150% over about 5 seconds. The creep was very choppy. Not smooth. Do I need to add more keyframes? Smooth them out? Or just have the zoom run over a shorter time?



I know this is a large post. I apologize but hopefully I'll be answering someone else's questions (or future questions) as well.

Many thanks,


Joshua

P.S. I also found this via another thread here. It looks very helpful but not quite answering the questions I'm asking here. http://www.mindspring.com/~schleicher/

P.P.S. I live in Los Angeles. I'm not adverse to personally meeting someone who doesn't mind being Mr. Miyagi to my Daniel-son for an afternoon.

I do a fair amount of "graphic spots" -- local commercials done quickly and on the cheap using just still photos provided by the business or their ad rep. One I just finished (mentioned below) attempted the "Kid satys in the picture" style

Go to http://www.karatemedia.com/video to see these examples:

*"Georgia Theatre" -- I just completed this one, my first attempt at the "Kid Stays In..." technique. I used it in the shot that opens and closes the commercial (the B&W one that zooms in on the guy holding his head). This version is very subtle, and would probably be mistaken for a typical pan-n-scan, "Ken Burns effect." But you can see how the background goes out of focus in an approximation of Depth of Field and you can sorta see the movement and shadow I created. My other attempt was too obvious, but this one may be too subtle.

There was a tutorial in DV magazine a couple months ago on how to do this technique, which may still be available on their website at dv.com. Basicially you cut and clone in Photoshop, import two layers into After Effects, then play with them in 3D space to get the look you want. Include lights and camera layers, too, if you like.

But the point is to create movement and interest out of a still photo. You don't have to go all out with the effects work to do this. A scene in a motion picture may pan over a beautiful vista or slowly reveal a special detail that is very meaniful -- it's still just a pan, no special effects involved...

I think the "Chick Piano" and "All About You" commercials on my site are nice, straightforward pan-n-scans that made the clients happy. These are simply 1600x1200 pics imported into Premiere and then manipulated with a combination of the Pan filter and the Motion settings. These are not the best examples of the now-monikered "Ken Burns effects" one could find, of course, but they show that simple panning can be fine, too.

I'm sorry I cannot help you with your other questions... I'm just a Windows/Premiere kinda guy (uh, so why did I come in this forum anyway?)... If you cannot find the DV.com tutorial on the After Effects effect, I'll post more here about how I did it. After Effects is a lot of fun to use, and any reason to use it is a good reason...

EDIT: Also, let me recommend Chris and Trish Meyer's books on After Effects -- Creating Motion Graphics with After Effects volumes 1 & 2 (vol 2 covers AE 5.5 and just came out in June, so I don't know if or when they'll put one out for After Effects 6.0), and After Effects in Production (this one covers AE 4 and 5 but these are hands-on lessons, which I love, and can certainly be applied to AE 5.5 and probably AE6.0). Chris and Trish also write for DV magazine.

Yeah John, what are you doing in Mac-land??? :-)

Hey, I was just there in Dawg-ville a couple of weeks ago. Never thought I'd see a place called Gator Haters outside of Tallahassee! Sister Hazel were playing in one music theater and Three Doors Down were at the other.

Nice on the GA Theater "Kid Stays In" shot. Loved it.

I just had to do a :30 spot for Kuya Fusion Rum and had NO time to go out and burn any footage. So between some clips of old bar night happy face reels and some pan-n-scan shots of product and drinks, I managed to pull it together. Fortunately I had some layered PSDs of the bottle and drink, which I just motion-controlled in front of a Jump Back in an appropriate color scheme for the look-and-feel of the brand. Now I'm gonna have to try my game with this new (to me) twist on an old game.

Josh, "wax on, wax off." :-)

Y'know, although 1704 x 2272 is a bit big unless you are going to really zoom in tight on some detail in the picture, it should still work. Rather than more keyframes, try just one at the beginning and one at the end. That's all you should need unless you have a change of direction in mid-shot...which is not unheard-of but less common than a straight motion.

The stuff I do is mostly like the Chick Piano or All About You shots. Simple, native-to-the-timeline things that don't require AE.

Oh yes, and it's all in FCP 3.

I have to wonder if it's a computer issue like not enough memory partitioned to FCP or something.

I have a 733 G4. What is a good, compatible 160-220 g internal hard drive?

ATA133 support is required for the larger drives. I don't think the 733 supports drives larger than 135gb. You will need a controller card in a PCI slot to recognize the entire drive. If you get a new computer in the future you can reformat the drive and use the entire size of the drive.

Western Digital drives over the 137GB limit come with a PCI controller card that lets you get past the limit. You should be able to see the entire size of the drive with that card.

newegg.com is a great place to grab the drive from. They have the absolute best price half the time and great service. Check whether you're getting the retail or OEM version of the drive (and what the differences are if you're getting OEM).

Ken Stone's FCP page (kenstone.net) has an article on how to install the drive, as does the manual for your G4.

I've been worrying about this problem for some time now.

The first thing that I think I should mention is the fact that I have three hard drives: an internal HD, and two externals.

O.K., here's what I do. I go into the program, and start doing some things, and notice that in the little column box listing the fonts, many of them, I'd say probably 90%, aren't installed.

So, I click on the font that I want, and hit the install button. After this, I get a message telling me to insert a disc, either LiveType 1 or Livetype 2. I do this. I open the 'LiveType Fonts' folder in the disc, and select the font that I want. Boom, I get another box telling me that the font cannot be installed.

I close the window with all of the fonts inside. Still looking at the open disk window, I see that there are some other options for me in there. So, I click on the other icon, a little box saying something like 'LiveType Data, Disc 1' under it. I click on it, and I get an installer window. It asks me where to install the data.

Now, be reminded that I have three hard drives. So, here's what I do: I click on the internal hard drive (install location) icon. My computer tells me that I am unable to install in this location. So, having two other choices, I click on my 'External HD #1' icon. I have Mac OS 10.2.6, but for some reason, the computer tells me that I need at least 10.2.5 to install here. Again, the darn exclamation point, telling me that I cannot install here.

Alright, I now have one more choice. So, I click on my 'External Hard Drive #2' Icon. No exclamation point! Did I finally get it right? Apparently not. I click on the 'install' option, and a dialogue box comes up. It says something to the extent that I need to install on the boot drive, (which I thought ext. HD #2 was established as! What the h*** is going on here?!) And it tells me that I should contact 'The administrator of my computer' for futher information.

--- And, that's where I am left at this point. Has anyone else had problems like this?

Replies are apprecieated, I am pretty stumped at this point.

Thanks,

Corey C.

It sounds like you have a non-standard boot setup. Certain applications need to find files and folders in specific locations in order to install correctly. In your case have the OS on an external drive is confusing the installer. Can you outline where you OS is installed and where your applications (such as FCP 4) are installed? You may need to reinstall the OS and FCP to the proper locations to get the installer to run.

I'm using my DVX100 as a deck, out of that camera it goes straight to a monitor. But I get no audio to the camera or monitor while Printing To Tape. Is there a setting I need to turn on? I'm stumped.

Vegas Video on the PC had audio out just fine.

At work I am using Final Cut Pro 4.1.1, OS 10.3.2 (which, by the way, has horrible networking features), and Quicktime 6.5. Usually all goes well as I work, but every once in awhile I will try to select something in the browser or move the scroll marker. But I find that I am unable to even select the browser window. No matter how much I try and click that area, it never comes "in front". I am forced to save an relaunch Final Cut Pro. Anyone else ever encounter this?

I think this has affected Final Cut Pro since version 1, but it is anoying nonetheless and was wondering if anyone has creative workarounds.

I am talking about the way you drag a file from the Browser window onto the timeline area. Sometimes when you place the clip it will push all of the other clips forward in the timeline, screwing everything up abd requiring an undo. This is usually most annoying when trying to place a small audio file on the track, such as a sound effect, and it moves ALL tracks forward, audio and video. It will even split a video track in two just to push the rest of it forward.

Check right here for an example picture (http://64.233.224.176/webimages/example.jpg). This is only a basic example, but you should get the idea.

The only work around I know of is to lock all of the other tracks which you are not dragging files to. But that is annoying in itself. Anyone have a better workaround?

In the NLE I'm using (Vegas) I have an option called auto ripple.
If it is on it will move everything whenever I insert something,
otherwise it will overwite it so to speak. Perhaps FCP has a
similar option?

Mark,
The first thing to check is the Audio Playback option in the Audio/Video Settings. I often forget to change this from the built-in audio to go out DV instead. One clue is where you hear the audio when printing to tape -- the computer or the camera.

Every now and then this will annoy me, and I've always felt I should dig back through the manual to understand the insert modes better. But basically, this is what I do: First, position the insertion point as desired on the timeline. Now grab a clip and slowly drag until the insertion point is highlighted. Now you will see an icon next to it that either has an arrow pointing down towards a line, or left/right. If the icon is pointing down then your other clips won't be disturbed. Also make note that a little triangle should highlight the insertion point itself. If the triangle(s) move to point to the beginning of an existing clip on the timeline then it may be affected.

Maybe someone else can summarize the different insertion modes a little better than I?...

ah ha! I got it. I didn't even see that option under the FCP menu until now. You think they would put all the prefrences together in one Preference menu! aarrg!

Clips will ripple forward when you drag clips onto the timeline depending if the box (indicating where the clip will go) is filled or not.

Alternate ways of putting clips on the timeline: drag it to the canvas windows and insert or overwrite. There are keyboard commands for this too.

Try trashing FCP preferences. I've posted directions for this in the past. directions are posted here. (http://www.dvinfo.net/conf/showthread.php?s=&threadid=18209&highlight=FCP+preferences)

Excellent reply, Boyd! I have never noticed that. I noticed that if your cursor is underneath the line in the blank track, the arrow points down. If it is above then it points forward. Good to know! I learned something new, and I already knew everything! :)

DVD Studio Pro No Window Refresh

This software is a beast and I'm learning it slowly but surly. There is one thing that is not working out well.

Let's say you've added a custom directory to the "Shapes" tab. Well if you add more shapes from Photoshop or whatever else while you're NOT in DVD Studio Pro, When you go BACK to the Shapes tab and try and import new files, it will NOT refresh. You will need to Quit DSP and restart it. Then if you go BACK to the Shapes>Custom>Import, you should see the new files there.

This has to be a major bug and should of been looked at during beta!

Hi

Sorry if these sound basic, but if they are then hopefully somebody can help...

In the viewer or canvas is there a way of moving a single corner point so as to strecth and distort an image. All I seem able to do is to shrink or enlarge the entire image or rotate it. I want to be able to move a corner and have the other corners stay where they are. Is this possible?

Also I want to apply the widescreen filter to a new track above all my sequences (the reason I want to do this is because when applied individually the colour of the black bars changes based on the colour correction settings for each clip). What is the best thing to put on this new track to apply the filter to as I can't just add the filter alone to an empty track.

Thanks

Some CompUSA stores already have copies of FCE version 2 but can't put it out until January 6 (the keynote speech at Macworld).

No word on improvements/what changed.

If you want to actually change the proportions of a clip then you need to use distort property on the motion tab. Maybe there's some comand key combination that will let you do this by dragging the image handles, but I'm not aware of it.

I think the way to accomplish what you want with the widescreen filter is to create a completely new sequence and drop your existing sequence into it. Now apply the filter to the new sequence. Then you can edit your original sequence in any way you like and the changes should be reflected in the new sequence with the widescreen filter applied. Of course you will need to render with each change though...

Motion tab - fantastic!

So, for the widescreen filter I should nest my film in a new sequence and then apply the filter to that. Sounds good, thanks!

That's pretty interesting, Jeff. I just read a report here, http://www.thinksecret.com/news/finalcutexpress2.html. Didn't FCE just come out early this year? I think the existing version is a great program, hopefully version 2 will be better.
I'm anxious to see the keynote address, will it be streamed on the apple website?

The motion controls render faster than the widescreen filter. Use the widescreen filter as a guide to get the right numbers.

Right, but it came out before FCP 4 so there needed to be some work to allow FCE features to better match FCP features. Also, any .0. especially 1.0 software is bound to have some key missing features (that they didn't know were missing 'til people complained!).

I'm actually more curious what iDVD 4 will bring (VBR encoding?), as well as iPhoto 3 (better album control?). From what I've heard about iMovie 3.5 it isn't a great deal different but they would need to do something in order to keep it compatible with FCE.

Of course, Chris is right. In an earlier thread he pointed out that those under a NDA won't say and those that say don't know. Having done beta-testing I know that isn't entirely true but it mostly is.

I'm moving towards a nice online FCP set-up, but I'm trying to figure out storage right now.

A friend going HD soon (now editing SD) recommends Huge Systems.

Medea?

XServe?

Thanks,

heath

So does cropping give the same results as using the filter? The final film is to be viewed on television (via DVD).

If so, does anyone happen to have the numbers for 1.78:1 (16:9)?

Hopefully there'll be a free download to upgrade from 1.1 to 2 - won't there... :(

Rob Lohman has a page that'll answer your question. You can find it here (http://www.geocities.com/robvisuar/calc.htm).

Macrumors (http://www.macrumors.com/pages/2004/01/20040101012408.shtml) reports that the upgrade to version 2 will cost $99.99. That seems a bit high to me considering the original just came out less than a year ago and the full version only costs $299.99. Either way, I'm curious to see the upgrades.

Compressor is broken for me. Version 1.1 along with Final Cut Pro 4.0. But I am using Compressor as a stand alone program (or attempting to). Quicktime 6.5, by the way. Oh! Almost forgot: Dual 1Ghz G4 with the mirrored drive doors. It's got 1GB of Samsung RAM straight from Apple. Also if this matters I removed the mirrored drive doors so I can eject the disc trays whenever I want, just like a PC. Whooops!... You'll need this info as well: Mac OS X 10.2.8. And don't forget, I'm 30 years old and I am still version 1.0. I'm sure all of these things combine to form this glitch. Sorry if all that wasn't enough info. :)

Anyway when I press "Submit" in Compressor, it says "Cannot Connect to Background Process". If I try to use a Droplet, the Submit button is greyed out. What is a background process? Should I kick my computer? That usually helps with other things. :)

Try searching the knowledge base at Apple. I'm sure this is a common problem. The knowledge base is a great resource if you are getting a unique error message.

http://docs.info.apple.com/article.html?artnum=93234 <-- I think I found it in like 20 seconds.

Thanks for the help!

I've reinstalled all of the software on the same hard drive, and it works!


Thanks,

C. Cook

you said you were considering go with a real nice final cut sys. I'm thinking about that to. I was wondering exactly what would that system consist of, AJA IO or cine wave rt or Auora Ignigter. Just wondering

Torrey C. Harris

The cinewave I believe is the only card that gives meaningful real-time acceleration.

The other cards have their own codecs which can reduce storage needs. They are online codecs in the sense that they are (virtually) lossless at low compression ratios. see codecs.onerivermedia.net.

I don't have any experience with setting up online systems so take that info with a grain of salt.

Thanks for the help so far guys but a few questions left...

I am dealing with about 100 photos all about 2272 x 1704 resolution. They were given to me that way. For the time being, I decided to do any panning/zooming in FCP3 because I've found it easier to cut it to music that way...(so far, in AE5.5 I have found that I can import audio but that it doesn't play unless I specifically go to Composition->Preview->Audio and then only the audio plays, not the visuals along with it).

Here's my problem:

Even with their high resolution, when I bring these .jpgs into the viewer, their quality drops just a tiny bit but its noticeable. When I drag them into the timeline/Canvas, the quality becomes even worse.

Whether or not I render them in the timeline, it doesn't seem to matter. The pictures just look terrible.

I thought it might be that they're in .jpg format (compressed) so I tried one as a .tiff but that didn't help. Is this an issue of adjusting the resolution to be proportional to 720x480?

Please help; until this is fixed, I cannot finished my project.

In case you need to know, I'm running on a dual 1.42ghz g4 mac with 1 gig of RAM, a 160 gig Media HD (unpartitioned but solely for media with the 80 gig stock for OSX and software installs) and FCP 3.0.4.



Thanks,


Joshua

You will want to look at this tutorial (http://www.lafcpug.org/basic_pan_scan.html) and this site (http://www.lafcpug.org/) in general. There are plenty of tips and tricks you may find helpful in your project.

I've used CineWave in both Mac and PC and found them to be basically garbage. We have to constantly re-start the cards, fix settings, etc. It's such a nightmare compared to even AJA Kona SD cards, which I've really never had problems with.

heath

I'm planning on saving some cashola and shoot my next film on the DVX100 (or any other 24p DV camera that may come out). Do I need to capture the footage uncompressed and upres it to 4:2:2 to edit, etc., then go to 35 mm film? Is it necessary to go to SD?

heath

WHat would anyone here recommend for my new G5 Dual 1.8?

Bought this with a 250 installed and now want another drive of similar size?

Thanks P

I think you've got to capture it DV to do the pulldown removal. Then it would be least strain on your system to edit it DV and then convert to uncompressed to output to whatever format - will they take it on firewire drives, or do you need to dump out to DigiBeta?

For chroma-uprezzing, you can take a look at the one I have in my Film Effects package which is quite a bit better than the Apple one and has a great degree of control.

For converting the whole seq to uncompressed, can you just go into the timeline settings and change the codec?

Graeme

G5's support the larger drives. Any SATA drive will work. You'll have a choice of several brands. I've had good luck with the Western Digitals.

Just want to send out an invitation to anyone who may be attending Macworld San Francisco this week. Stop by the Canon booth and say hello! I'll be in the Canon booth and Dan will be on the show floor producing some cool Final Cut Pro related events.
http://www.macworldexpo.com/macworldexposf/V40/index.cvn?ID=10364

On Wednesday night, January 7th, the FCPUG Network will host a fun evening at the Mezzanine with a theme of "FCP 4: From DV to HD", featuring Sean Cullen who was First Assistant Editor to Walter Murch on the film "Cold Mountain" http://www.apple.com/pro/film/murch
http://www.apple.com/trailers/miramax/cold_mountain

Looking forward to meeting some new faces at the show!

- don