Tapeless Workflows, a Jump to the Past?

We in the post world are on the verge of an explosion in media management, and it isn’t a pretty sight. The worst part is that even though it is billed as the future, it really is a bast from the past. That is going to be very trying on many of the new production and post crowd who haven’t been raised with the disciplines of the old workflows.

Get Photos from Aperture to Final Cut Pro

Sometimes third-party plug-ins fill obvious holes… this is truly the case here.  Wouldn’t it make sense to be able to quickly send photos from Apple Aperture to Final Cut Pro? You’d think that sort of thing would be built right in (its not).  Fortunately the fine folks over at Connected Flow over an elegant (and free) solution.

“The Aperture to Final Cut Pro plugin lets you take your images stored in Apple’s professional photo management application and send them directly to a video sequence in Final Cut Pro. From within Aperture, you can select photos, set their order and duration and select transitions between frames.”

The Aperture to Final Cut Pro plugin is a free download and is provided on an as-is basis.  I find it works great.

Motion Templates in Final Cut Pro

For the past few years Apple has been pushing Motion as a tool that should be in every editor’s toolbox. The problem has been, not every editor has had the time or patience to learn Motion. In Final Cut Pro 6, Apple recognized this and has integrated Motion templates directly inside of FCP.

To launch a Motion template in Final Cut Pro you have three options:
1 Choose the Effects tab in the Browser > Master Templates.
2 Choose the Generators pulldown in the Viewer > Master Templates.
3 Choose the Sequence menu > Add Master Template.

Choose the template that you want and load it into the Viewer. Once the template has been loaded in the Viewer, clicking on the controls tab will let you change various parameters of the template. There is only one catch:

Not every parameter of a template is editable in Final Cut Pro. Text entry, size, tracking and populating drop zones with footage are the only parameters you can adjust inside Final Cut Pro.

If you need to edit a template to, for example, change the text color, or swap out a background, you need to edit the template in Motion. Here’s how.
1 Edit the template from the Viewer into your sequence.
2 Right-click on the template and notice at the top of the contextual menu you have two options: Open in Editor and Open Copy in Editor. Since the template is a prebuilt one from Apple, you can’t save over it (it’s locked) so you need to choose Open Copy in Editor.
3 Make your changes in Motion and save the file. Your changes will update in FCP.

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

mocha AE to CC Power Pin

Imagineer Systems’ mocha AE is a stand-alone planer motion tracking application that creates keyframe date which you can in turn use in After Effects. If you are performing a perspective-style track, you will paste the resulting data into a Corner Pin effect already applied to the to-be-pinned layer in After Effects.

However, some prefer using the CC Power Pin effect that comes with Cycore Effects (bundled free with After Effects) over the stock Adobe Corner Pin effect: It is more flexible, and some feel it resamples the layer with higher quality. As a result, a number of workarounds have appeared to apply mocha’s Corner Pin data to CC Power Pin. I’d like to share a couple, and add my own.

PSV#77 Making Selections: Channels - Photoshop for Video

Instructor Richard Harrington shows you how to make great selections using channels in Photoshop.

Timecode Burn-in and Encode in One Step for Final Cut Studio

Timecode burn-in is used to assist in referencing back to parts of show. Typically this has been used on VHS tapes for producers so they can comment on shows, etc. These days it’s more common to use QuickTime files and DVDs for this type of work. Since you’re going to have to encode the video anyway (most likely using Compressor), why not add timecode burn-in at the same time?

Fortunately, a great new feature in Compressor 3 allows you to do this.
1 Inside Final Cut Pro select the sequence you want to export.
2 Choose File > Export > Using Compressor.
3 Inside Compressor select the setting you’d like to apply to the file. With the setting active, select the Inspector window and click the Filters tab.
4 Choose Timecode Generator.
5 Change the settings for the Timecode Generator as you see fit.
6 Apply the setting to the clip in the Batch window.
7 Submit the job.

Note: If you’re trying to choose the Timecode Generator for an Apple preset you’ll notice there are no filters in the Filters tab of the Inspector. To be able to add the Timecode Generator to one of the Apple presets, you’ll have to duplicate it first (then it becomes a custom preset).

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

Final Cut Pro to YouTube

What people tend to forget is that you are sending YouTube a master for them to compress; therefore, send the highest quality you can, that fits within their limitations. YouTube.com is well know for being the busiest video-sharing site, but unfortunately, YouTube uses the much older Sorenson Spark codec for their video encoding. This was the “improved” video format for Flash 7 but is based on the very old H.263 video conferencing codec. Even when new, this was an old, inefficient codec.

Many people send YouTube an already compressed video, and are disappointed when they see the quality that results on YouTube. That’s because most of the information was first thrown away by the encode before upload, so there was little quality left to be encoded to Flash 7.

The goal is to give YouTube a master that they can use for encoding:
• YouTube has two limitations: no more than 10 minutes per video and no larger than 100 MB per video.
• YouTube converts everything that is uploaded to Flash 7 video at 320X240 (although they’ve started to also do 640X480 in H.264).
• Remember the good old days of VHS distribution? You wouldn’t give the duplicator a VHS copy of the show to duplicate. No, you’d give them the highest quality master you could. Therefore, to get the best quality from YouTube, give them a high quality “master” that is close to 99 MB.

Here’s how to pull this off:
1 Use QuickTime Pro or Final Cut Pro to exports to .mp4 with H.264 video.
2 Export as MPEG-4 with H.264 and set the size to 320X240. There is no point providing more resolution than YouTube’s finished size. By going direct to that size means that you can devote bandwidth to making that master look great, instead of sending excess size that will be scaled down. The bonus is that you get to control de-interlacing and scaling.
3 From here on there are two choices: calculate the maximum data rate that will keep the file under 99 MB, or use some general purpose settings.

Thanks to Phil Hodgetts for this guest tip.

Like this tip? It comes from the book
Final Cut Studio On the Spot from Focal Press.

NLEs Are Still Too Expensive?

There has been a lot of noise lately from some folks that even the new Avid hardware pricing is too high. As someone who is in this game for the long haul, this really rankles my feathers. Avid has lowered their pricing by around 50 percent, while delivering a product that greatly increases speed and performance over the existing Adrenaline line. When I try to explain that time is money and the time you save with this gear equals money in the bank, I just get “but FCP is cheaper”  as the standard response. So I thought I would follow this new group of editors to their future world…

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