Your project is done and you need to get it to YouTube, Facebook or Vimeo. While I normally recommend always exporting a high-quality master file – both for archiving and future compression – sometimes, you just don’t have the time.
So, you are looking at this screen and debating between Faster Encode and Better Quality. You spent a LOT of time on this project – which should you pick?
In the past, before hardware acceleration, Better Quality created smaller files and higher image quality. Today, that’s no longer the case. Tests I recently made with Apple Compressor show that Faster Quality – which uses hardware acceleration is:
Creates smaller files more than 1/2 the time
Creates image quality equal to or better then Better Quality
The compression engine used by Compressor is the same engine used by Final Cut. The only difference is the interface each has to prep a file for compression.
Figuring out the best way to manage media in Final Cut is always a challenge because there are so many options. As a recent example, Ron wrote:
I have a challenge with Library’s in FCP X. I have a client that we shoot 4 videos a month. They are only about 5 minutes each. We do this every month and I have one Library (for the year) that has all the months in it along with the usual assets.
This Library is now 450 GB and my question is: would it be more effect if I had a Library for each month rather than a yearly Library.
The short answer is: “Yes.”
If you are not sharing media from one library to the next, putting one month in a library simplifies file management and improves performance. (Keep in mind that libraries need to be open to be accessed.)
There’s nothing wrong with what you are doing, it simply becomes harder to manage the media.
Here’s the general rule: Put the media you need to access into a single library.
Keep in mind that the bigger the library, the more RAM you’ll need.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2019-12-11 01:30:002019-12-11 01:30:00Tip #264: Set Opacity Keyframes in the Timeline
Some of the best and most memorable moments in life are in motion. Unfortunately, digital cameras hate movement. Most of the time, moving subjects register as a blur on photographs. So how do you shoot moving objects? Here are some tips:
1. Shutter Speed
When the subject is moving and you want to take a shot of, say a basketball player getting the ball on a rebound, then you should opt for fast shutter speeds. You should use a shutter speed that is at least 1/500th of a second or higher. Keep in mind that faster shutter speeds require more light for a proper exposure.
2. Increase The Aperture
The aperture is the hole where light comes into your camera into the image sensor. Choose a low f-stop to open up the aperture and allow more light in. This will help you counter the low light you get from the fast shutter speed. Keep in mind that opening the aperture decreases depth of field, that is, the area in a photo that’s in focus.
3. Use a Flash
Using a flash with your motion shots is a good way to counter the low light conditions when using a faster shutter speed. It is extremely easy to correct dark photos by using your flash. Keep in mind that most flashes are very short range, so a single flash won’t light a gym.
4. Use a High ISO
Using a high ISO can help you increase the shutter speed and aperture of your camera without increasing the likelihood of getting blurry or dark photographs. However, using high ISOs usually results in a grainy picture with a lot of digital noise.
An extended version of these tips first appeared in PremiumBeat.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2019-12-11 01:30:002019-12-11 01:30:00Tip #170: How to Capture Motion and Moving Subjects
The way most NLEs work is that, during an edit, the software will load (“buffer”) a portion of a clip into RAM. This allows for smoother playback and skimming, as you drag your playhead across the timeline.
When a clip is loaded into RAM, it is uncompressed, allowing each pixel to be processed individually. This means that the amount of RAM used for buffering depends upon several factors:
How much RAM you have
The frame size of the source video clip
The frame rate of the source video clip
The bit-depth of the source video clip
This graph illustrates this. It displays the MB required per second to cache 8-bit video into RAM. As you can see, RAM requirements skyrocket with frame size. These numbers increase when you have multiple clips playing at the same time.
NOTE: These numbers also increase as bit-depth increases, however the proportions remain the same.
The amount of RAM you need varies, depending upon the type of editing you are doing.
8 GB RAM. You can edit with this amount of RAM, but editing performance may suffer for anything larger than 720p HD
16 GB RAM. Good for most editing.
32 GB RAM. My recommendation for editing 4K, 6K, multicam and HDR.
64 GB RAM. Potentially good for massive frame sizes, but not required.
Anything more than 64 GB of RAM won’t hurt, but you won’t see any significant improvement in performance; especially considering the cost of more RAM.
https://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpg00Larry Jordanhttps://www.theinsidetips.com/wp-content/uploads/2019/09/Tips-Logo-700x150.jpgLarry Jordan2019-12-10 01:30:002019-12-05 12:58:22Tip #228: How Much RAM Do You Need For Editing?
Rather than settling for searching on multiple sites for stand alone stock video shots that “kind of” look similar to one another, look for story driven footage. Story-driven shots are ones that show the same subject in action and also provide multiple shot types of similar action.
2. Use high quality, Raw or Log Footage
When searching for stock footage, look for clips that enable high resolution downloads, like Raw, Arri, Red or Phantom. You won’t have to sift through a library full of less-than-stellar quality or overused footage to find what you’re looking for.
3. Don’t pay per clip. Go unlimited
Your film’s budget can easily go through the roof if you pay per clip. This is why we recommend using footage sites that use single umbrella licensing and unlimited subscription models.
Whether you edit on a laptop or full-size keyboard, there are two Delete keys at your disposal. One is above the Return key, indicated by the red arrow in the screen shot, the other is… hidden.
The big Delete key, which deletes going backwards, is the normal delete key for most Final Cut operations. In addition to deleting text as you would expect, it also deletes clips.
The smaller Delete key, next to the End key, deletes going forward. You can quickly see the difference by deleting text from the middle of a paragraph. The big difference in Final Cut, though, is when you use this smaller key to delete a clip: It deletes the clip AND replaces it with a gap. Many students find this very distracting.
When deleting clips, the big Delete key always changes the duration of the timeline. The small Delete key does not.
The forward delete key exists on laptops, too, but it’s hidden. Simply press the Fn key (in the lower left corner of the keyboard) while typing the big Delete key.
You can easily drag clips or projects from one Event to another in the same library. Keep in mind that you can’t store the same clip in more than one Event.
But, what happens if we want to move media or projects between libraries? Well, we have options:
We can COPY them
We can MOVE them
When you copy an item from one library to another, the corresponding files are duplicated on the storage device that contains the receiving library. When you move an item from one library to another, the corresponding files are moved from the library file in the first storage location to the library file in the second location.
Copying or moving items between libraries lets you:
Use multiple libraries on the same storage device to organize a large number of active projects and media assets.
Work on your project and media files on a different Mac that has Final Cut Pro installed.
Back up your project and its media files to a storage device, a network volume, or other storage media.
Allow multiple users to access your media in an external folder on shared storage.
Free up space on your Mac or storage device.
HOW TO COPY
To copy one or more selected clips from one library to another, simply drag them. Or choose File > Copy Clips to Library.
In the resulting dialog, you can choose to copy optimized or proxy media. If you decide not to do this, you can always recreate it later.
HOW TO MOVE
To move one or more selected clips from one library to another, press the Cmd key while dragging. Or choose File > Move Clips to Library.
Again, moving provides the option of also moving optimized and/or proxy media.
NOTE: If you have created or customized any Final Cut Pro effects, transitions, titles, or generators in Motion, set the storage location for your Motion content to In Library before starting any copy or move operations between libraries or storage devices. Otherwise, the Motion content is not included in those operations. Regardless, you must manually track and move any third-party (FxPlug) content, because it is not managed within the Final Cut Pro library.
There are several color correction commands that are inaccessible, if you don’t create custom keyboard shortcuts for them. For example, open Final Cut Pro > Commands > Customize and search for Color. Then, assign shortcuts to:
Apply Color Wheels
Apply Color Correction from Previous Edit
Apply Color Correction from Two Edits Prior
Apply Color Correction from Three Edits Prior
Color Board: Toggle Correction on/off
Suddenly, all your color corrections will go a LOT faster!
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