I just Trimmed and Saved a QT file with QT Player Pro 7 - But I did it wrong!
How to un-trim??? I don't want to have to export a 2 hour long video again!
Well here is the solution:
https://discussions.apple.com/message/1332201?messageID=1332201&%3b#1332201?messageID=1332201&%3b
1) Get the app Hex Fiend here:
http://www.ridiculousfish.com/hexfiend/
2) Open your mistakenly trimmed QT file
3) Search for the text string "free" (like free...lmvhd)
4) Manually replace "free" with "moov"
5) Save
Hop! The trimming is gone! Yeah! Thank you juliejuliejulie, thank you!
Tuesday, September 17, 2013
Thursday, September 12, 2013
Shooting for post, a checklist (work in progress)
A few notes for my fellow directors, cameramen and other camera and sound operators out there. Can you please take into consideration your fellow editor needs, who is working hard with your wonderful footage.
Below is a non-exclusive check list to make our film better. It will look and sound better and we will achieve a higher level of quality, making you look better. And I know that it's not always possible to do it that way nor desirable, still, it makes my job easier.
1- Roll camera and sound with synced time code. Check and jump sync regularly to avoid drifting.
2- For cameras that cannot be jam-synced, run Time Of Day separately, but as close as possible. So each device is in the same ballpark. That helps a lot, searching for elements is much faster. Watch out for am/pm discrepancy.
3- If possible, slate every take with SC/TK info and rolling time code and make the announce for sound, and please frame and focus on the board so I can read it.
4- Let it roll for a second before calling Rolling, another second before calling Set and another second before calling Action. Or even more if you dare! Each one of you take 3 deep breaths, that will give me wonderful handles.
5- Similarly, let it roll for a few seconds before calling Cut. Heck let it roll for a few seconds AFTER Cut is asked. Hmm! More handles.
6- Brief your actors on the necessity to not overlap dialog with their fellow actors. Tough one, I know, try it anyway. Overlapping dialog, especially with actors improvising their lines is a big limitation in editing. I can always overlap them in post. It's easier to condense time with editing than it is to expand.
7- Always record reaction shots - make sure that the director and actors know you MUST record them in addition to the scripted talking shots. Actors listening, looking at someone/something, nodding, standing there, noticing something, sitting, standing, hands, cutaways... the list is endless - Use your judgement! I need these shots constantly and they are a huge asset to make the cut better, richer and more natural. Ironic, yes I know, well we are manipulators.
Below is a non-exclusive check list to make our film better. It will look and sound better and we will achieve a higher level of quality, making you look better. And I know that it's not always possible to do it that way nor desirable, still, it makes my job easier.
1- Roll camera and sound with synced time code. Check and jump sync regularly to avoid drifting.
2- For cameras that cannot be jam-synced, run Time Of Day separately, but as close as possible. So each device is in the same ballpark. That helps a lot, searching for elements is much faster. Watch out for am/pm discrepancy.
3- If possible, slate every take with SC/TK info and rolling time code and make the announce for sound, and please frame and focus on the board so I can read it.
4- Let it roll for a second before calling Rolling, another second before calling Set and another second before calling Action. Or even more if you dare! Each one of you take 3 deep breaths, that will give me wonderful handles.
5- Similarly, let it roll for a few seconds before calling Cut. Heck let it roll for a few seconds AFTER Cut is asked. Hmm! More handles.
6- Brief your actors on the necessity to not overlap dialog with their fellow actors. Tough one, I know, try it anyway. Overlapping dialog, especially with actors improvising their lines is a big limitation in editing. I can always overlap them in post. It's easier to condense time with editing than it is to expand.
7- Always record reaction shots - make sure that the director and actors know you MUST record them in addition to the scripted talking shots. Actors listening, looking at someone/something, nodding, standing there, noticing something, sitting, standing, hands, cutaways... the list is endless - Use your judgement! I need these shots constantly and they are a huge asset to make the cut better, richer and more natural. Ironic, yes I know, well we are manipulators.
Friday, June 21, 2013
FCPX non-magnetic timeline
FCPX 10.1.1 non-magnetic timeline
You don't like the magnetic timeline in FCPX? No worries, just "Connect" your clips to the Primary Storyline - using "Q", instead of using Insert ("W".)
All clips brought into the Timeline with "Connect" stay relative to their position. The vertical line at the beginning of each clip represents the "anchor" or connection.
Neat. Less aggravation.
---
Update (May):
I now use the Magnetic Timeline more and more and I like it. Combined with Secondary Storylines, it works great.
I also use the Position Tool ("P") in the Primary Storyline in order to move clips without the magnetic behavior. That too works great.
I would like to be able to connect clips to Secondary Storylines though, not just the Primary as is only possible at this time. Apple?
You don't like the magnetic timeline in FCPX? No worries, just "Connect" your clips to the Primary Storyline - using "Q", instead of using Insert ("W".)
All clips brought into the Timeline with "Connect" stay relative to their position. The vertical line at the beginning of each clip represents the "anchor" or connection.
Neat. Less aggravation.
Update (May):
I now use the Magnetic Timeline more and more and I like it. Combined with Secondary Storylines, it works great.
I also use the Position Tool ("P") in the Primary Storyline in order to move clips without the magnetic behavior. That too works great.
I would like to be able to connect clips to Secondary Storylines though, not just the Primary as is only possible at this time. Apple?
Tuesday, May 21, 2013
Photoshop Smart Object
How to create Smart Objects in Photoshop:
Right-Click onto a Layer into the Layer window, Select: Convert to Smart Object.
Any Filter applied to the Smart Object Layer is added as an Effect and can be turned on/off.
Yeah! This saves me having to duplicate Layers ad-finitum just in case something goes wrong...
Save file as Tiff with layers, it will relink into FCP, with the Effect(s) turned on/off reflecting the status in Photoshop. Combined with a set of actions, that can be a fast way to automate stills treatment. Non-permanent, very useful.
Right-Click onto a Layer into the Layer window, Select: Convert to Smart Object.
Any Filter applied to the Smart Object Layer is added as an Effect and can be turned on/off.
Yeah! This saves me having to duplicate Layers ad-finitum just in case something goes wrong...
Save file as Tiff with layers, it will relink into FCP, with the Effect(s) turned on/off reflecting the status in Photoshop. Combined with a set of actions, that can be a fast way to automate stills treatment. Non-permanent, very useful.
Thursday, May 16, 2013
DVD StudioPro Multi-Angle requirements
- DVD SP has specific requirements for the prep of Multi-Angle tracks:
Mpeg-2 assets must have the same length and the same frame rate.
From the DVDSP User Manual:
Mpeg-2 assets must have the same length and the same frame rate.
From the DVDSP User Manual:
Requirements for MPEG Streams in Multi- and Mixed-Angle Video
The integrated MPEG encoder produces streams that meet the criteria for multi- and mixed-angle use:
With multi-angle tracks, all streams must be the same length. With mixed-angle tracks, all alternate streams in each mixed-angle section must be the same length.
All streams must have the same resolution and frame rate. The length and pattern of GOPs (Group of Pictures) must be the same for all streams (angles). If you are not using the integrated MPEG encoder, use an encoder that allows you to turn scene detection off.
All GOPs should be closed. You will not be able to cleanly switch between the streams if you use open GOPs
- In addition, the DVD specs stipulate a max bitate of 8Mbit/s per angle:
https://en.wikipedia.org/wiki/DVD-Video
All streams must have the same resolution and frame rate. The length and pattern of GOPs (Group of Pictures) must be the same for all streams (angles). If you are not using the integrated MPEG encoder, use an encoder that allows you to turn scene detection off.
All GOPs should be closed. You will not be able to cleanly switch between the streams if you use open GOPs
- In addition, the DVD specs stipulate a max bitate of 8Mbit/s per angle:
https://en.wikipedia.org/wiki/DVD-Video
Friday, May 10, 2013
DVD StudioPro palette elements "Relink"
I have all my content libraries (DVD SP, Motion, LiveType, Soundtrack) onto a second drive, so the normal location on my system drive (/Library/Application Support/Final Cut Studio/DVD Studio Pro) is empty. DVDSP did not load any element but a few default items in the palette widow at first.
To populate the palette window, go to: DVDSP/Preferences/Destinations/
In the "Show" pull-down menu, select: Palette Elements.
In the "Stock" path windows, click choose and select the path to your DVD Studio Pro library.
Click Apply.
To populate the palette window, go to: DVDSP/Preferences/Destinations/
In the "Show" pull-down menu, select: Palette Elements.
In the "Stock" path windows, click choose and select the path to your DVD Studio Pro library.
Click Apply.
The palette will populate, except for the Shape window.
That's OK, restart DVD SP, and voilà... even the Shape window is properly populated.
Sunday, April 28, 2013
Codecs and Bit Depth (as a reminder)
COLOR SCIENCE
RGB Codecs sample each base color, with no Chroma subsampling.
Ex. ProRes4444, HDCAM SR Dual Link.
---
4.4.4 use uncompressed Chroma subsampling
Reduced Chroma subsampling makes smaller file sizes = More storage efficiency, but creates image artifacts (halo, color bleeding/smudging on edges.)
BIT DEPTH
---
8 bit Codecs are 24 bits image files.
RGB 8 bits for each base color, intensity range: [0-255].
A pixel that's [0,0,0] is black, a pixel that's [255, 255, 255] is white.
Y',Cb,Cr has a different intensity range [16-235] to allow for super white/black.
Limited range problematic especially for gradients (stepping.)
Ex. 8 bit Codecs:
Uncompressed 8bit, HDV, DBeta, ProResProxy, DV, DVCPro, DVCam, Mpeg2.
---
10 bit Codecs are 32 bits image files = 10 bits for each base color (RGB) +2 spare bits. Intensity range: [0-1023]
Ex. 10bit Codecs:
Uncompressed 10bit, ProRes4444, ProResHQ, ProRes422, ProResLT, AVC-Intra 100, Canon MXF422.
---
10 bit LOG (Cineon, DPX) is equivalent to 12 bit Linear, but values are Log-curve compressed to match the film emulsion sensitivity to light which is logarithmic. This allows for a wider dynamic range by rolling-off the highlights that would be otherwise clipped in 8, 10, even 16 bit linear capture. Film print density range higher than 1080 values
Intensity range: [0-?] for each color. (Eq. 12 ƒ-stops.) Ex. Film scans.
---
---
16 bit Codec are 48 bits image files.
Intensity range: [0-65535] for each color.
---
Floating point is only for processing images, not storage. Better, more precise maths for calculation = higher quality results. Intensity range: [?-?] (Eq. 25 ƒ-stops.)
---
ACES "unlimited" (Eq. 30 ƒ-stops.)
RGB Codecs sample each base color, with no Chroma subsampling.
Ex. ProRes4444, HDCAM SR Dual Link.
---
Y'CbCr Codecs use Luma sampling + Chroma subsampling.
Vertical and Horizontal resolution is indicated by the last two numerals:
4.4.4 use uncompressed Chroma subsampling
4.2.2 use compressed, (1/2 vertical and 1/2 horizontal resolution) Chroma subsampling (Ex. ProResHQ, ProRes422, ProResLT, ProResProxy, ACV-Intra 100, XDCam422, Canon MXF422, DVCProHD and DVCPro50, DBeta)
Prosumer also use 4.2.0 (HDV, AVCHD, AVC-Intra 50, DVCam PAL, Mpeg2-DVD) or 4.1.1 variants (DV, DVCPro, DVCam NTSC)
Reduced Chroma subsampling makes smaller file sizes = More storage efficiency, but creates image artifacts (halo, color bleeding/smudging on edges.)
BIT DEPTH
---
8 bit Codecs are 24 bits image files.
RGB 8 bits for each base color, intensity range: [0-255].
A pixel that's [0,0,0] is black, a pixel that's [255, 255, 255] is white.
Y',Cb,Cr has a different intensity range [16-235] to allow for super white/black.
Limited range problematic especially for gradients (stepping.)
Ex. 8 bit Codecs:
Uncompressed 8bit, HDV, DBeta, ProResProxy, DV, DVCPro, DVCam, Mpeg2.
---
10 bit Codecs are 32 bits image files = 10 bits for each base color (RGB) +2 spare bits. Intensity range: [0-1023]
Y',Cb,Cr has a different intensity range [64-940] to allow for super white/black.
Uncompressed 10bit, ProRes4444, ProResHQ, ProRes422, ProResLT, AVC-Intra 100, Canon MXF422.
---
10 bit LOG (Cineon, DPX) is equivalent to 12 bit Linear, but values are Log-curve compressed to match the film emulsion sensitivity to light which is logarithmic. This allows for a wider dynamic range by rolling-off the highlights that would be otherwise clipped in 8, 10, even 16 bit linear capture. Film print density range higher than 1080 values
Intensity range: [0-?] for each color. (Eq. 12 ƒ-stops.) Ex. Film scans.
---
12 bit Codecs
Intensity range: [0-?] for each color. Ex. RED One.
---
16 bit Codec are 48 bits image files.
Intensity range: [0-65535] for each color.
---
Floating point is only for processing images, not storage. Better, more precise maths for calculation = higher quality results. Intensity range: [?-?] (Eq. 25 ƒ-stops.)
---
ACES "unlimited" (Eq. 30 ƒ-stops.)
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