By default, sequences are edited as nests – but you can change that with a click.
I’ve been using Premiere for years and have never paid attention to this blue timeline button. Here’s what it does.
When this button is blue, inserting or overwriting a sequence from the Files panel into a different sequence in the Timeline edits it as a nest.
When this button is white, inserting or overwriting a sequence from the Files panel into a different sequence in the Timeline edits it as a separate clips. (That is, it deconstructs the sequence into its component elements.)
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 Jordan2020-10-06 01:30:002020-10-03 14:07:51Tip #1057: What Does this Blue Button Do?
These two utilities are essential for moving files into or out of Final Cut
As long as you can create XML, you can move your data from one media application to another. However, the XML Final Cut Pro X uses is not compatible with many other applications. While some applications – KeyFlow Pro, Kyno and Axle.ai – support the current version of XML used in Final Cut Pro, most others, including Adobe’s Creative Cloud suite, do not.
Because XML is a core language for moving data between applications, there are two essential utilities that solve this compatibility issue:
SendToX. This converts older XML files into a form that FCP X can read.
XtoCC. This converts FCP X XML files into a form that older applications can read.
As with any migration, common elements – such as media and edits – transfer with no problems. However, proprietary functions – such as color grading or effects – may or may not transfer successfully.
As with all things in media, do a test using your own workflow to determine what works best for you.
These six steps keep the chaos at bay while editing interviews.
This article, written by Joe Frederick, first appeared in PremiumBeat.com. This is a summary.
Editors on interview projects face an overwhelming task: reducing hours of footage into just minutes for the final cut. Eliminate that stress with these six steps.
1. Transcription. Getting your interviews transcribed is the best piece of advice I have for anyone cutting these types of videos. There are many, many advantages to getting your interviews transcribed. If the director suddenly wants to find a particular soundbite from a particular interview, you can easily search the transcription for particular key words or phrases. You can also skim through the interviews when away from the edit suite. The benefits are endless.
Before the transcription, it’s worth forming your multicam clips first, if you’ve filmed from multiple angles, so you can drag the multicam clip into your timeline and export the audio from there. That way, the timecode on your transcription will match the timecode of your interview timeline. This is vital if you want to keep your process efficient.
2. Highlighting. Read all the transcripts from beginning to end, highlighting anything and everything that might possibly be used in the edit. I usually open the PDFs in Preview, which allows you to use different colors when highlighting.
3. Create “Good Content.” Back in your NLE, go through all your interviews, cutting out any of your highlighted segments from each interview into a new project/sequence. Essentially you are building an unorganized selects reel. Put a text slide before each clip with the content of the sound bite. By now, you should have a sense of the organizational structure you are aiming for.
4. Create “Good Content Ordered.” Rearrange the selected sound bites into an order that makes sense.
5. Create “Content Cut.” Duplicate your project and rename it “Content Cut.” Because your footage is now in order, you’ll be able to see when you have repetition in what’s being said and can quickly delete it. Then, get busy deleting and whittling down your cut until it’s the length you want your final piece to be.
6. Create “Refined Content Cut.” Duplicate your project file once again and rename it Refined Content Cut. This is where the final finessing takes place.
By taking your project in stages, it helps you feel more in control which allows you to focus more on your story.
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 Jordan2020-10-01 01:30:002020-10-01 01:30:00Tip #1048: What Does Publishing a Template Do?
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 Jordan2020-09-28 01:30:002020-09-26 10:22:01Tip #1040: New! Stabilize 360° Video
RAW is always better, but takes more time to get the image to look right.
The folks at NightSkyPix.com looked at RAW vs. JPEG from the point of view of astrophotography. However, this also applies to shooting video more down to earth.
This is an excerpt.
Loosely speaking, a RAW image is the digital equivalent of a film negative. In reality, a RAW file is not an image that can be visualized with classic software, but must be developed before using RAW editors such as Adobe Camera Raw.
The JPEG image format is arguably the most common standard format for digital images, and the name stands for “Joint Photographic Expert Group”.
The JPEG format uses lossy and compressed image data to create an image file that is both lightweight and readily usable with any software and device able to visualize graphics.
JPEG is easier to use and view, but RAW is the better choice.
The article provides additional details, pros and cons, and illustrates these ideas with screen shots. It’s worth spending time reading.
For us video folks, JPEG is similar to H.264, and RAW is similar to raw or log files.
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 Jordan2020-09-22 01:30:002020-09-19 09:32:32Tip #1025: RAW vs. JPEG: Which is Better?
New ISO and white point settings are now available for ProRes RAW in FCP X 10.4.9.
A new feature in the 10.4.9 update to Final Cut Pro X is the ability to adjust ISO and, for some cameras, the white point. Apple now supports changing the ISO setting (essentially, video gain) and white point for ProRes RAW media when edited natively.
NOTE: These settings only appear for ProRes RAW media and don’t appear when FCP X is in proxy mode.
To access these, select a ProRes RAW clip in the timeline (not the browser), then go to the Info Inspector and switch the menu at the bottom left from Basic to Settings. The red arrows in the screen-shot indicate the new settings with this update:
Camera ISO. The ISO setting at which the media was recorded.
ISO. A menu allowing you to change the ISO setting from 50 to 25,600.
Exposure Offset. This slider provides finer control in adjusting the ISO. The range is one stop lower to one stop higher.
Camera Color Temperature. The white point setting at which the video was recorded.
For some cameras, Final Cut also supports changing the white point. Here is the current list of cameras supporting these new features.
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 Jordan2020-09-21 01:30:002020-09-19 09:12:03Tip #1018: New! Adjust ISO for ProRes RAW
NewBlue Stream is software designed to simplify live streaming with advanced graphics.
The folks at NewBlueFX announced a new program specifically designed for live streaming, with graphics integration: NewBlue Stream.
Here’s how NewBlue describes it: “Our philosophy with NewBlue Stream is simple – make it as easy as possible to produce live broadcasts, give you tools to make them engaging and interactive, and do it in one elegant solution that’s priced right. The result is a lightweight streaming and broadcast solution paired with dynamic, data-driven graphics that you won’t find anywhere else.”
NewBlue is a long-time effects developer – especially on Windows – with strong credentials for effects and titles.
“Cast stunning and technically sophisticated live video productions with multiple audio and video inputs, switching, and an unlimited number of programmable, data-driven, 3-D animated graphics, including lower thirds, crawls, motion bugs, transitions, titling, and more.”
The system provides image capture, content creation, and streaming; supporting Facebook Live, YouTube Live, Twitch, and any RTMP end point.
The software supports Windows and Mac. Pricing starts at $13.99 per month and a 14-day free trial is available.
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