Time Saving Tip – Replace Audio in Quick Time Pro 7

Time Saving Tip – Replace Audio in Quick Time Pro 7 | Premiumbeat.com:
It never fails that you’ve just spent good time exporting your film from your NLE, run it through a compression program to turn it into a client friendly H.264 file and a last minute audio tweak or music change comes through. Save time re-exporting and re-rendering with this simple method of replacing the audio in your quicktime file. This is particularly useful if you’re a composer or mixer appending new audio to a file for client review.

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Tip: How to Save Your Work When After Effects Freezes

Tip: How to Save Your Work When After Effects Freezes:
OK– so you’ve been working on your 99 layered After Effects project for an hour now and suddenly…that $%^& beachball pops up!  Your After Effects project has frozen in its tracks!  And you’ve forgotten to save all that hard work…
What to do?

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Saving Autosaves Into Individually Compressed Archives

Saving Autosaves Into Individually Compressed Archives:
It's not too hard to just right click on the whole Autosave Vault folder and compress it into a .zip archive. On my drive here my Autosave Vault folder is about 4GBs, compressed though it's 291MBs. That's a huge amount of space saved. But it's also messy if you want to just get at one particular project's autosave (.fcp) folder.

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Disk Access Denied in Avid Media Composer – simple and fast fix

Disk Access Denied in Avid Media Composer – simple and fast fix | Make Film Teach Film:
Yesterday I got a drive problem I have had before – for some reason, Avid or Windows, or a combination of the two, lock access to the Avid Media Folders. When trying to look in the folder I would get the error message DISK_ACCESS_DENIED.

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Quick Avid Tip: Display your UNC File Path in the bin!

Quick Avid Tip: Display your UNC File Path in the bin! « robgwilson.com:
Okay, just a quick tip I worked out yesterday while I was trying to organize dailies for a documentary I am working on.  The producer/directors had organized everything I needed to build out the Avid project on a hard drive: hours and hours of Quicktimes, all sorted out by subject or location.  I was going to import them in one fell swoop, but I needed some way to organize the media once it came into the Avid.  As it was, all the media arrived in one big bin.  This is where the UNC File Path comes in.

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Quick Avid Tip: Display your UNC File Path in the bin!

Quick Avid Tip: Display your UNC File Path in the bin!:
For those who don’t know, the UNC File Path is short for Universal Naming Convention and is basically a piece of metadata that tracks the folder directory location of every imported piece of media into Avid.  This is how, when you go to batch import, the Avid remembers where your imported Quicktime came from.  It records it in the UNC File Path.

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Premiere CS5 Endless Conforming Fix | Kearwood Gilbert's Site

Premiere CS5 Endless Conforming Fix | Kearwood Gilbert's Site

I capture video in HDV format, which uses compressed audio. When importing these clips into Adobe Premiere Pro CS5, the video gets "indexes" and the audio gets "conformed". Conforming audio essentially involves decompressing it and stretching it out to 32-bit samples that are more efficient for non-linear editing. These 32-bit samples are stored in Adobe's proprietary CFA files that are either stored with your source clips or in a subdirectory of your home directory.

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Keeping Mobile Avid Media Updated | Editing Brain Dump

Keeping Mobile Avid Media Updated | Editing Brain Dump
On most of the films that I’ve worked on, I’ve needed to keep at least two Avid systems up to date. This could be because an editor wants to be able to cut from home, or the Director wants the ability to cut on set. To handle this I wrote a Terminal (bash) script that searches for any new MXF or OMF media on specified volumes since the last time the script was run. On first-run, the script does nothing but set the date to compare against the next time the script is run, though if you need to change that instructions are below.

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DIGGING UP CANON DSLR METADATA

DIGGING UP CANON DSLR METADATA:
Today I found out a neat trick…thanks to the Twitter-verse. That’s what I love about Twitter. I can post a quick thought, or some observation…OR…I can ask quick advice about a random topic and get an answer rather quickly. I don’t have to go looking for some specific forum and then post the question there, and hope someone knows the answer. I just throw the answer out there, and wait for someone to post the solution. Typically I get more than one answer, and I get the answer within minutes.

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3:2 pulldown properly

3:2 pulldown properly:

This is a fairly specific tutorial for a not unheard-of situation. Say you have material that is 23.98 and 59.94 and you need to finish in one format or another. By default Avid Media Composer and Final Cut Pro will import your mixed frame rate material and playback with 4:1 pulldown.

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CUSTOM CLIP COLOR & TRACKING AMA CLIPS TIP

CUSTOM CLIP COLOR & TRACKING AMA CLIPS TIP
OK, here’s a little follow up to my Media Composer 6 review. In that review I mentioned that you could label your clips via a small palette of colors. Well, there is actually a way to open up that choice of colors…to get to the full color palette including the Color Wheel and Crayon options. All you need to do is Option+Command+click (or Opt+Cmd+CNTRL click if you use a trackpad) to have access to the full color options:


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Zipping files by type and date range from OSX command line | Creative Workflow Hacks

Zipping files by type and date range from OSX command line | Creative Workflow Hacks
I needed to zip some flash files that had changed in the last 3 days across a set of subdirectories. This is the one liner that I came up with. This is mainly for future me as this comes up all the time.

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Useful Tools for Editors: Project X27

Useful Tools for Editors: Project X27:

In the ongoing saga of Final Cut Pro X comes one of the first third-party tools based on the newly released FCPX XML format. XML came to FCPX in the version 10.0.1 update just a month ago. Project X27 is a $50 translation tool that comes from Intelligent Assistance. The company is no stranger to XML and has produced many helpful workflow tools for Final Cut Pro 7 (as well as Premiere Pro). Project X27 moves Final Cut Pro X timelines into Final Cut Pro 7. You might ask why someone would want to move an edit to FCP7. The short answer is there are a lot of places you can move a full project, or parts of a project, once it is in FCP7. For example, you can import FCP7 XMLs into Adobe Premiere Pro … and that means an easy link to After Effects from there.

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What is Show Reference Clips?

What is Show Reference Clips?
Show Reference Clips is a function that allows you to view all of the clips associated with the sequence in that bin. It is a helpful function because it doesn’t require you to have all of the bins open that contain the footage for the sequence.

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הטיפ הזה מאפשר לבצע פעולות כמו המרה, העתקה, גיבוי וכו' על מדיה המצאת בסיקוונס מסויים. ההבדל בין הפקודה הזו לקונסולידייט הוא שלא צריך "להזיז" את המדיה לפני ביצוע הפעולה הרצוייה.

RT@AvidAsstEditor
Don’t like the frame displayed in the Bin with Frame view? Click on the frame & hold KL or KJ to find what you like, then let the keys go!

De-Log effect for Media Composer

De-Log effect for Media Composer:

Currently, there isn’t a way to load LUTs into Media Composer. If you are working on a project that was shot “Log” many people will complain about how milky it looks. I created a color effect to de-log the image. It’s not 100% technically correct, but it should suffice for offline use. The effect can [...]

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Movies blue | Exported through Adobe Media Encoder CS5.5 | Adobe Premiere Pro CS5.5

Issue
When you export a movie from Adobe Premiere Pro CS5.5 using the Adobe Media Encoder encoding queue, the movie has a strong blue tint.

Solution


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Simple Workflow for Removing 2:3 Pull Down

Simple Workflow for Removing 2:3 Pull Down:

This is an old topic of discussion, but it always seems to come up again and again. Some cameras, such as Sony’s FS100, will record in 1080 24p, but output only 1080 60i over HDMI. The FS100 does this to make its output compatible with monitors and other devices. The internal video recording is true 24p, but the output has gone through a 2:3 pull down process, whereby the 24p is converted into 60i. Because 24 frames do not evenly split into 60 interlaced fields, this process stretches 24p into 60i which does result in some obvious interlacing artifacts. Here is a quick illustration showing how four frames (from 24p) split into interlaced fields.

For anyone wishing to record the HDMI signal coming out of the FS100, this can be a major headache. Recorders such as the Ki Pro Mini or the HyperDeck Shuttle can easily record the video coming out, but unfortunately they cannot remove the 2:3 pull down to convert the video back into 24p. Here are a couple quick examples of how to remove the pull down and get good results.


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Calculating Timecode in Excel

Calculating Timecode in Excel:
Today I was contacted by a filmmaker friend that wanted to work out a way to calculate timecode within an Excel spreadsheet. Fortunately there are some great Macro’s out there that allow you to do just that, however the one I recommended is not terribly well documented, so I thought I would jot down some notes here.

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Managing Your FCP X Events & Projects using Disk Images

Managing Your FCP X Events Projects using Disk Images

In my ongoing effort to offset some of the misinformation that's floating out there on the web regarding FCP X workflows, I've come across (and tested) an insanely cool workflow that will teach you how to seamlessly work on multiple Macs and even open Projects and Event media on an XSan.
In this article, I will focus on these 3 typical scenarios:
Hiding, Moving and Sharing Your Projects Event Media
Using Disk Images on an XSan
Using Disk Images to archive your work

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