Without an external scope I'd call that "subjective" not objective grading.

--- In FinalCutPro-L@yahoogroups.com, "conigs" <paul@...> wrote:
>Though I can't really push anything too far as I don't have the time to do much
beyond basic objective grading.
>
> Paul Conigliaro : : . .
> editor // motion graphics designer
> http://conigs.com // paul@...
>

>(though how you can color correct a doc without scopes is beyond me)

Believe me, I would love to borrow the UltraScope from my primary place of work.
Unfortunately, the budget doesn't always allow for it… especially when things
like color grading are practically an afterthought. I just have to live with the
scopes within Color. Though I am bringing in my own light-weight video card to
output to a monitor. But some grading is better than none.

As far as the actual layoff to tape, they're now working direct with the local
PBS station at my suggestion. I have done this previously (recently actually)
where we deliver uncompressed quicktime files and they layoff to tape. It works
out quite well as long as I'm conservative with my grading. Though I can't
really push anything too far as I don't have the time to do much beyond basic
objective grading.

Paul Conigliaro : : . .
editor // motion graphics designer
http://conigs.com // paul@...

PS: Also wanted to thank you for writing your books. They've been a great help
in taking on color grading.


--- In FinalCutPro-L@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
>
> The other solution is to use either another local production house or
> one of Terry Curren's Digital Service Station companies that are
> scattered around the country.
>
> You just send them the finished, graded file (though how you can color
> correct a doc without scopes is beyond me) and Digital Service Station
> will deliver as many dubs of the tape in whatever formats from the
> file. This is probably your most foolproof solution.
>
> Another way to do this even cheaper would be using an AJA KiPro. I
> just wrote an article in the latest provideocoalition newsletter:
> http://provideocoalition.com/index.php/pvcproductionpipeline
>
> Basically I go through most of these same methods myself for HD. I
> have the scopes and the video card (Kona2) and DigiBeta and Beta and
> DVCPro decks, but no HD decks. So if I need HD output, I simply export
> a QT file to a hard drive and shuffle the hard drive to a place that
> has Final Cut and an HD deck. They export it for me and charge me for
> it. There are a bunch of places in Chicago that do this. I'm not sure
> about Austin, though I have some clients down there. I'd just ship a
> drive off to LA or Chicago or Orlando or Columbus or if you can find a
> place in Austin or Dallas that can do it. Let them know it's for PBS
> and that you need it QC'd for PBS specs. Provide your local station's
> PBS specs if you have them, or assume that they're the same as the
> national PBS specs.
>
> Digital Service Stations are at:
> http://www.digitalservicestation.com/
>
>
> On Nov 11, 2009, at 2:42 PM, Mark Coffey wrote:
>
> > Always put the ball in the other guy's court!!
> >
> > email them back outlining what it will take to accomplish what they
> > wish. explain to them that you don't have the gear necessary to do
> > the job and suggest they try to get in touch with one of their
> > contacts for a trade or to call in a favor.
> >
> > good luck
> >
> > mark
> >
> >
> > MacPro Octo 2.8---10GB RAM
> > 10.5.6---FCS2 6.05---AJA IOHD
> >
> > Mark Coffey
> > Tsunami Editorial
> > Austin, Texas
> > 512.413.3133
> >
> > On Nov 11, 2009, at 2:01 PM, conigs wrote:
> >
> >> First, backstory: I am primarily a commercial editor & motion
> >> designer. But sometimes I do off-projects such as color grading &
> >> design for local docs. I freelance at facilities or occasionally
> >> work from home, where I have minimal gear.
> >>
> >> One project coming up is just such an off-project: color grading a
> >> doc destined for the local PBS station, which is happening in a
> >> couple weeks. It is a small outfit with a couple of MacPros, an
> >> HDTV, small SD broadcast monitor (no video cards, though), and a
> >> couple HVX-200s.
> >>
> >> <rant>
> >>
> >> Today, I received this in an email:
> >>
> >> "I'm hoping I can get you to help us output HD files to HDCam tape
> >> for Public TV. Can I ask when you might be able to do that anytime
> >> after 12/19?"
> >>
> >> I'm hired on to color grade, and now I'm being asked to arrange HD
> >> output to a deck which they don't have through a video card the
> >> also do not have. Knowing the discount I am giving them, I know
> >> they don't have the budget to rent a deck, nor do I know of
> >> facilities in the immediate area who both have an HDCam deck and
> >> would be willing to donate the time necessary to arrange output.
> >> But somehow it's presumed I can just take care of it.
> >>
> >> At least this is coming up now and not on my second-to-last booked
> >> day with them.
> >>
> >> I understand that one can't be expected to fully knowledgeable in
> >> every aspect of (post) production, especially in a small
> >> documentary outfit, and maybe I'm making too much out of it, but it
> >> drives me nuts when things like HD deliverables aren't thought out
> >> before production starts, when the choice to shoot and post in HD
> >> (720p, actually) has already been made.
> >>
> >> </end rant>
> >>
> >> <<If my client finds this and is reading it, I'm sorry. But we've
> >> probably already talked this through.>>
> >>
> >>
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > To learn more about the FinalCutPro-L group, please visit
> > http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
> >
> >
> >
> >
>
>
>
> [Non-text portions of this message have been removed]
>

The other solution is to use either another local production house or
one of Terry Curren's Digital Service Station companies that are
scattered around the country.

You just send them the finished, graded file (though how you can color
correct a doc without scopes is beyond me) and Digital Service Station
will deliver as many dubs of the tape in whatever formats from the
file. This is probably your most foolproof solution.

Another way to do this even cheaper would be using an AJA KiPro. I
just wrote an article in the latest provideocoalition newsletter:
http://provideocoalition.com/index.php/pvcproductionpipeline

Basically I go through most of these same methods myself for HD. I
have the scopes and the video card (Kona2) and DigiBeta and Beta and
DVCPro decks, but no HD decks. So if I need HD output, I simply export
a QT file to a hard drive and shuffle the hard drive to a place that
has Final Cut and an HD deck. They export it for me and charge me for
it. There are a bunch of places in Chicago that do this. I'm not sure
about Austin, though I have some clients down there. I'd just ship a
drive off to LA or Chicago or Orlando or Columbus or if you can find a
place in Austin or Dallas that can do it. Let them know it's for PBS
and that you need it QC'd for PBS specs. Provide your local station's
PBS specs if you have them, or assume that they're the same as the
national PBS specs.

Digital Service Stations are at:
http://www.digitalservicestation.com/


On Nov 11, 2009, at 2:42 PM, Mark Coffey wrote:

> Always put the ball in the other guy's court!!
>
> email them back outlining what it will take to accomplish what they
> wish. explain to them that you don't have the gear necessary to do
> the job and suggest they try to get in touch with one of their
> contacts for a trade or to call in a favor.
>
> good luck
>
> mark
>
>
> MacPro Octo 2.8---10GB RAM
> 10.5.6---FCS2 6.05---AJA IOHD
>
> Mark Coffey
> Tsunami Editorial
> Austin, Texas
> 512.413.3133
>
> On Nov 11, 2009, at 2:01 PM, conigs wrote:
>
>> First, backstory: I am primarily a commercial editor & motion
>> designer. But sometimes I do off-projects such as color grading &
>> design for local docs. I freelance at facilities or occasionally
>> work from home, where I have minimal gear.
>>
>> One project coming up is just such an off-project: color grading a
>> doc destined for the local PBS station, which is happening in a
>> couple weeks. It is a small outfit with a couple of MacPros, an
>> HDTV, small SD broadcast monitor (no video cards, though), and a
>> couple HVX-200s.
>>
>> <rant>
>>
>> Today, I received this in an email:
>>
>> "I'm hoping I can get you to help us output HD files to HDCam tape
>> for Public TV. Can I ask when you might be able to do that anytime
>> after 12/19?"
>>
>> I'm hired on to color grade, and now I'm being asked to arrange HD
>> output to a deck which they don't have through a video card the
>> also do not have. Knowing the discount I am giving them, I know
>> they don't have the budget to rent a deck, nor do I know of
>> facilities in the immediate area who both have an HDCam deck and
>> would be willing to donate the time necessary to arrange output.
>> But somehow it's presumed I can just take care of it.
>>
>> At least this is coming up now and not on my second-to-last booked
>> day with them.
>>
>> I understand that one can't be expected to fully knowledgeable in
>> every aspect of (post) production, especially in a small
>> documentary outfit, and maybe I'm making too much out of it, but it
>> drives me nuts when things like HD deliverables aren't thought out
>> before production starts, when the choice to shoot and post in HD
>> (720p, actually) has already been made.
>>
>> </end rant>
>>
>> <<If my client finds this and is reading it, I'm sorry. But we've
>> probably already talked this through.>>
>>
>>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>
>



[Non-text portions of this message have been removed]

On Nov 11, 2009, at 2:51 PM, Greg Huson wrote:

> Www.digitalservicestation.com.  And
> Fedex.

Just what I was going to suggest.  Don't reinvent the wheel,
especially when you can't afford decent rims.

[Non-text portions of this message have been removed]

Www.digitalservicestation.com.  And
Fedex.

Greg (at) secrethq.com
Greg Huson
Secret Headquarters, Inc
www.DigitalServiceStation.com
www.SecretHQ.com
iPhone



On Nov 11, 2009, at 12:01 PM, "conigs" <paul@...> wrote:

> First, backstory: I am primarily a commercial editor & motion
> designer. But sometimes I do off-projects such as color grading &
> design for local docs. I freelance at facilities or occasionally
> work from home, where I have minimal gear.
>
> One project coming up is just such an off-project: color grading a
> doc destined for the local PBS station, which is happening in a
> couple weeks. It is a small outfit with a couple of MacPros, an
> HDTV, small SD broadcast monitor (no video cards, though), and a
> couple HVX-200s.
>
> <rant>
>
> Today, I received this in an email:
>
> "I'm hoping I can get you to help us output HD files to HDCam tape
> for Public TV. Can I ask when you might be able to do that anytime
> after 12/19?"
>
> I'm hired on to color grade, and now I'm being asked to arrange HD
> output to a deck which they don't have through a video card the also
> do not have. Knowing the discount I am giving them, I know they
> don't have the budget to rent a deck, nor do I know of facilities in
> the immediate area who both have an HDCam deck and would be willing
> to donate the time necessary to arrange output. But somehow it's
> presumed I can just take care of it.
>
> At least this is coming up now and not on my second-to-last booked
> day with them.
>
> I understand that one can't be expected to fully knowledgeable in
> every aspect of (post) production, especially in a small documentary
> outfit, and maybe I'm making too much out of it, but it drives me
> nuts when things like HD deliverables aren't thought out before
> production starts, when the choice to shoot and post in HD (720p,
> actually) has already been made.
>
> </end rant>
>
> <<If my client finds this and is reading it, I'm sorry. But we've
> probably already talked this through.>>
>
>


[Non-text portions of this message have been removed]

Always put the ball in the other guy's court!!

email them back outlining what it will take to accomplish what they
wish. explain to them that you don't have the gear necessary to do
the job and suggest they try to get in touch with one of their
contacts for a trade or to call in a favor.

good luck

mark


MacPro Octo 2.8---10GB RAM
10.5.6---FCS2 6.05---AJA IOHD

Mark Coffey
Tsunami Editorial
Austin, Texas
512.413.3133

On Nov 11, 2009, at 2:01 PM, conigs wrote:

> First, backstory: I am primarily a commercial editor & motion
> designer. But sometimes I do off-projects such as color grading &
> design for local docs. I freelance at facilities or occasionally
> work from home, where I have minimal gear.
>
> One project coming up is just such an off-project: color grading a
> doc destined for the local PBS station, which is happening in a
> couple weeks. It is a small outfit with a couple of MacPros, an
> HDTV, small SD broadcast monitor (no video cards, though), and a
> couple HVX-200s.
>
> <rant>
>
> Today, I received this in an email:
>
> "I'm hoping I can get you to help us output HD files to HDCam tape
> for Public TV. Can I ask when you might be able to do that anytime
> after 12/19?"
>
> I'm hired on to color grade, and now I'm being asked to arrange HD
> output to a deck which they don't have through a video card the
> also do not have. Knowing the discount I am giving them, I know
> they don't have the budget to rent a deck, nor do I know of
> facilities in the immediate area who both have an HDCam deck and
> would be willing to donate the time necessary to arrange output.
> But somehow it's presumed I can just take care of it.
>
> At least this is coming up now and not on my second-to-last booked
> day with them.
>
> I understand that one can't be expected to fully knowledgeable in
> every aspect of (post) production, especially in a small
> documentary outfit, and maybe I'm making too much out of it, but it
> drives me nuts when things like HD deliverables aren't thought out
> before production starts, when the choice to shoot and post in HD
> (720p, actually) has already been made.
>
> </end rant>
>
> <<If my client finds this and is reading it, I'm sorry. But we've
> probably already talked this through.>>
>
>



[Non-text portions of this message have been removed]

First, backstory: I am primarily a commercial editor & motion designer. But
sometimes I do off-projects such as color grading & design for local docs. I
freelance at facilities or occasionally work from home, where I have minimal
gear.

One project coming up is just such an off-project: color grading a doc destined
for the local PBS station, which is happening in a couple weeks. It is a small
outfit with a couple of MacPros, an HDTV, small SD broadcast monitor (no video
cards, though), and a couple HVX-200s.

<rant>

Today, I received this in an email:

"I'm hoping I can get you to help us output HD files to HDCam tape for Public
TV. Can I ask when you might be able to do that anytime after 12/19?"

I'm hired on to color grade, and now I'm being asked to arrange HD output to a
deck which they don't have through a video card the also do not have. Knowing
the discount I am giving them, I know they don't have the budget to rent a deck,
nor do I know of facilities in the immediate area who both have an HDCam deck
and would be willing to donate the time necessary to arrange output. But somehow
it's presumed I can just take care of it.

At least this is coming up now and not on my second-to-last booked day with
them.

I understand that one can't be expected to fully knowledgeable in every aspect
of (post) production, especially in a small documentary outfit, and maybe I'm
making too much out of it, but it drives me nuts when things like HD
deliverables aren't thought out before production starts, when the choice to
shoot and post in HD (720p, actually) has already been made.

</end rant>

<<If my client finds this and is reading it, I'm sorry. But we've probably
already talked this through.>>

I've definitely seen this on Kona 2's and other LH cards.  Sometimes it requires
pulling the power cord after shut down to drain the power off the the PCI buss. 
Something gets reset, very annoying.  I don't know if this ever was improved
over the last couple years.

--- In FinalCutPro-L@yahoogroups.com, Kerry Soloway <ksoloway@...> wrote:
>
> I'm working on an FCP system (2.66 GHz Quad-Core Xeon, 3 GB RAM, OS X
> 10.5.6) that has had a strange quirk the last couple of days.
>
> Whenever I first boot up the system no audio comes out of the Kona LHI card.
> Upon completely shutting down the system and re-booting, it will come back
> up. Has anybody else seen this happen?
>
> I am working in SD, BetaSP acquisition and layoff, capturing at ProRes HQ.
>
> I have been using Preference Manager but I don't think that the preferences
> have been the problem as simply re-setting the preferences doesn't seem to
> have solved the problem before re-booting.
>
> Thanks,
> Kerry
> -------------------
> Kerry Soloway
> http://www.NightingaleEditorial.com
> 201-247-4110
> ksoloway@...
>
> Watch "Consuelo Mack/WealthTrack" weekly on PBS. Check your local listings.
>
>
> [Non-text portions of this message have been removed]
>

I think some video cards can do this - different buffer for a stopped frame?

R
____________________
Ricardo Ismach
Casual Dog Productions, LLC
Portland, OR
Atlanta, GA
http://www.casualdog.org
bad-dog@...



On Nov 11, 2009, at 10:43 AM, Kerry Soloway wrote:

> I have seen that happen with certain codecs, although I don't have enough
> experience with ProRes to say whether I've seen it with that.
>
> Does this happen in the Canvas and/or Viewer? What are your playback
> setting? What happens after you render?
>
> Kerry
> -------------------
> Kerry Soloway
> http://www.NightingaleEditorial.com
> 201-247-4110
> ksoloway@...
>
> Watch "Consuelo Mack/WealthTrack" weekly on PBS. Check your local listings.
>
>
> On Wed, Nov 11, 2009 at 1:28 PM, jmcbrg <urspam666@...> wrote:
>
>>
>>
>> I'm not sure what I'm doing wrong, but when I capture at any of the ProRes
>> settings, (proxy, LT, or 422) there is a level change between the footage
>> parked and when it is playing. I thought it was the Gamma correction
>> Auto/none setting, but that doesn't make any difference. I'm capturing from
>> a Panasonic HD1400 via firewire. When I capture at DVCPro HD there is no
>> shift. Thanks in advance for any help.
>> jeff c.
>>
>>
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

I have seen that happen with certain codecs, although I don't have enough
experience with ProRes to say whether I've seen it with that.

Does this happen in the Canvas and/or Viewer? What are your playback
setting? What happens after you render?

Kerry
-------------------
Kerry Soloway
http://www.NightingaleEditorial.com
201-247-4110
ksoloway@...

Watch "Consuelo Mack/WealthTrack" weekly on PBS. Check your local listings.


On Wed, Nov 11, 2009 at 1:28 PM, jmcbrg <urspam666@...> wrote:

>
>
> I'm not sure what I'm doing wrong, but when I capture at any of the ProRes
> settings, (proxy, LT, or 422) there is a level change between the footage
> parked and when it is playing. I thought it was the Gamma correction
> Auto/none setting, but that doesn't make any difference. I'm capturing from
> a Panasonic HD1400 via firewire. When I capture at DVCPro HD there is no
> shift. Thanks in advance for any help.
> jeff c.
>
>
>


[Non-text portions of this message have been removed]

I'm not sure what I'm doing wrong, but when I capture at any of the ProRes
settings, (proxy, LT, or 422) there is a level change between the footage parked
and when it is playing. I thought it was the Gamma correction Auto/none setting,
but that doesn't make any difference. I'm capturing from a Panasonic HD1400 via
firewire. When I capture at DVCPro HD there is no shift. Thanks in advance for
any help.
jeff c.

No details just now, but yes that's happened repeatedly on two
different systems at two different clients. You're not alone, but no
help from here yet.

--
Jeff Cook
jeff@...
CookStudios.com
703-980-1104 (cell)


On Nov 11, 2009, at 12:07 PM, Kerry Soloway <ksoloway@...> wrote:
>
> Whenever I first boot up the system no audio comes out of the Kona
> LHI card.
> Upon completely shutting down the system and re-booting, it will
> come back
> up. Has anybody else seen this happen?
>

Ok, I'm totally impressed. We write iPhone Software for the Mac and we are
missing that demographic. Any requests for iPhone Apps?

Thanks,

Wyler Furgeson
Charismac Engineering, Inc

________________________________
From: FinalCutPro-L@yahoogroups.com [mailto:FinalCutPro-L@yahoogroups.com] On
Behalf Of Timothy Duncan
Sent: Wednesday, November 11, 2009 9:14 AM
To: FinalCutPro-L@yahoogroups.com
Subject: Re: [FCP-L] Re: A Request



We all got company iPhones a couple of years ago for Christmas and my
daughter (then 2) took mine over. I ended up with all these videos and
games for her and very little space for my stuff. (My first iPhone was only
8Gig). Within a week she was running it completely. This video is only
after I had the phone 2 weeks: http://www.youtube.com/watch?v=iJwFR7RJCME
So when I was around, she always wanted my iPhone. She had mastered my
previous phone, a Treo, and could use the stylus and navigate it completely
as well. She loved the drawing program on it.
So for Christmas last year I got her an iPod Touch, the older one without a
camera. She didn't like it without speakers or camera, so I traded it via
Craigslist for a 2st Gen iPhone for her. Now she has her own stuff on her
own phone and I got my phone back. :) (No Simm card so she can't actually
call except via Skype). :0 It is jailbroken so she can record video, too.
I just love looking at the pictures she takes. She's become quite good at
it.

My philosphy has always been to let my kids have and handle any of my
electronics so long as they are gentle. Nothing has ever been broken.
Emily, has had her own Mac and PC to play with since she was 18 months old.
If you work with kids, they are like little sponges and they LOVE gadgets.
Here's a website that basically trained her to use the mouse and wacom
tablet: http://jacksonpollock.org/ We also have the iPhone app for it.
If you have young kids, then you should check it out.

Cheers,
Timothy

On Wed, Nov 11, 2009 at 10:03 AM, Wyler Furgeson
<WylerF@...<mailto:WylerF%40charismac.com>>wrote:

>
>
> Your 4yr old daughter has an iPhone?
>

[Non-text portions of this message have been removed]


No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.425 / Virus Database: 270.14.52/2484 - Release Date: 11/10/09
19:56:00


[Non-text portions of this message have been removed]

We all got company iPhones a couple of years ago for Christmas and my
daughter (then 2) took mine over.  I ended up with all these videos and
games for her and very little space for my stuff. (My first iPhone was only
8Gig).  Within a week she was running it completely. This video is only
after I had the phone 2 weeks: http://www.youtube.com/watch?v=iJwFR7RJCME
So when I was around, she always wanted my iPhone.  She had mastered my
previous phone, a Treo, and could use the stylus and navigate it completely
as well. She loved the drawing program on it.
So for Christmas last year I got her an iPod Touch, the older one without a
camera. She didn't like it without speakers or camera, so I traded it via
Craigslist for a 2st Gen iPhone for her.  Now she has her own stuff on her
own phone and I got my phone back. :)   (No Simm card so she can't actually
call except via Skype). :0  It is jailbroken so she can record video, too.
I just love looking at the pictures she takes. She's become quite good at
it.

My philosphy has always been to let my kids have and handle any of my
electronics so long as they are gentle. Nothing has ever been broken.
Emily, has had her own Mac and PC to play with since she was 18 months old.
If you work  with kids, they are like little sponges and they LOVE gadgets.
Here's a website that basically trained her to use the mouse and wacom
tablet:  http://jacksonpollock.org/   We also have the iPhone app for it.
If you have young kids, then you should check it out.

Cheers,
Timothy



On Wed, Nov 11, 2009 at 10:03 AM, Wyler Furgeson <WylerF@...>wrote:

>
>
> Your 4yr old daughter has an iPhone?
>


[Non-text portions of this message have been removed]

I'm working on an FCP system (2.66 GHz Quad-Core Xeon, 3 GB RAM, OS X
10.5.6) that has had a strange quirk the last couple of days.

Whenever I first boot up the system no audio comes out of the Kona LHI card.
Upon completely shutting down the system and re-booting, it will come back
up. Has anybody else seen this happen?

I am working in SD, BetaSP acquisition and layoff, capturing at ProRes HQ.

I have been using Preference Manager but I don't think that the preferences
have been the problem as simply re-setting the preferences doesn't seem to
have solved the problem before re-booting.

Thanks,
Kerry
-------------------
Kerry Soloway
http://www.NightingaleEditorial.com
201-247-4110
ksoloway@...

Watch "Consuelo Mack/WealthTrack" weekly on PBS. Check your local listings.


[Non-text portions of this message have been removed]

Thanks - that does it, too.

On 11 Nov 2009, at 17:17, David Ross wrote:

Hi Roger,
If you select the audio tab in the viewer ("stereoa1a2" or whatever's
applicable), then press the little red 'X' just above the waveforms,
that
should reset all your levels and panning.
You can do the same thing on all the different adjustments available
on the
motion tab too...

David




+++
With best wishes,

Roger Shufflebottom

Unfortunately Modify>Levels doesn’t work for a clip or clips selected in the
browser, only on clips in the timeline or a clip opened into the viewer.

All the best,

Tom





On Nov 11, 2009, at 11:14 AM, Roger Shufflebottom wrote:

> OK - I sussed it: Modify>Levels>Absolute (or is there a different way?).
>
> On 11 Nov 2009, at 17:06, Roger Shufflebottom wrote:
>
> OK, I've read the FM and trawled the interthingy etc. How can I remove
> attributes from a master clip in the viewer (in this case audio
> keyframes)? I can do it for a clip in the Timeline, but not a clip in
> the Viewer or Browser. This clip was modified before adding to a
> sequence. FCP7. TIA
>
> +++
> With best wishes,
>
> Roger Shufflebottom
>
>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>



[Non-text portions of this message have been removed]

You can do it for individual clips in the viewer by resetting the audio in the
stereo or mono tabs. I suppose this could be automated somehow using XML by
cleverer people than I.

All the best,

Tom





On Nov 11, 2009, at 11:06 AM, Roger Shufflebottom wrote:

> OK, I've read the FM and trawled the interthingy etc. How can I remove
> attributes from a master clip in the viewer (in this case audio
> keyframes)? I can do it for a clip in the Timeline, but not a clip in
> the Viewer or Browser. This clip was modified before adding to a
> sequence. FCP7. TIA
>
> +++
> With best wishes,
>
> Roger Shufflebottom
>
>
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>



[Non-text portions of this message have been removed]

OK - I sussed it: Modify>Levels>Absolute (or is there a different way?).

On 11 Nov 2009, at 17:06, Roger Shufflebottom wrote:

OK, I've read the FM and trawled the interthingy etc. How can I remove
attributes from a master clip in the viewer (in this case audio
keyframes)? I can do it for a clip in the Timeline, but not a clip in
the Viewer or Browser. This clip was modified before adding to a
sequence. FCP7. TIA

+++
With best wishes,

Roger Shufflebottom

Put the clip in the viewer, go to the audio tab, hit the red "X" and
it should reset the audio back to normal levels and remove all Key
frames. There is probably a short cut in the keyboard layout, but have
not used it before.

Andy  Edwards

On Nov 11, 2009, at 9:06 AM, Roger Shufflebottom wrote:

> OK, I've read the FM and trawled the interthingy etc. How can I remove
> attributes from a master clip in the viewer (in this case audio
> keyframes)? I can do it for a clip in the Timeline, but not a clip in
> the Viewer or Browser. This clip was modified before adding to a
> sequence. FCP7. TIA
>
> +++
> With best wishes,
>
> Roger Shufflebottom
>
>
>



[Non-text portions of this message have been removed]

Hi Roger,
If you select the audio tab in the viewer ("stereoa1a2" or whatever's
applicable), then press the little red 'X' just above the waveforms, that
should reset all your levels and panning.
You can do the same thing on all the different adjustments available on the
motion tab too...

David


2009/11/11 Roger Shufflebottom <rshuff@...>

>
>
> OK, I've read the FM and trawled the interthingy etc. How can I remove
> attributes from a master clip in the viewer (in this case audio
> keyframes)? I can do it for a clip in the Timeline, but not a clip in
> the Viewer or Browser. This clip was modified before adding to a
> sequence. FCP7. TIA
>
> +++
> With best wishes,
>
> Roger Shufflebottom
>
>  _
>


[Non-text portions of this message have been removed]

On 11/10/09 9:50 PM, "Multimediac" <mr_ree_mann@...> wrote:

> Inspired by? It used the same plates and models.
>
> Pretty nerdy.

Make your own. Go here:

http://www.xtranormal.com/makemovies/


I'm going to use Xtranormal to previz the 3D film I'm making with those two
iPod Nanos that I taped together. Then I'll get someone to edit it for free
through an advert on craigslist. Good thing they have a "gigs" category now.
That $75 fee for posting a "help wanted" advert would ruin our budget.

Jim
PS- Anyone know Spielberg's home phone number? I'm sure he'll want to EP
this.

OK, I've read the FM and trawled the interthingy etc. How can I remove
attributes from a master clip in the viewer (in this case audio
keyframes)? I can do it for a clip in the Timeline, but not a clip in
the Viewer or Browser. This clip was modified before adding to a
sequence. FCP7. TIA

+++
With best wishes,

Roger Shufflebottom

Your 4yr old daughter has an iPhone?

________________________________
From: FinalCutPro-L@yahoogroups.com [mailto:FinalCutPro-L@yahoogroups.com] On
Behalf Of Timothy Duncan
Sent: Wednesday, November 11, 2009 7:00 AM
To: FinalCutPro-L@yahoogroups.com
Subject: Re: [FCP-L] Re: A Request



Yes -- The Doorpost is funded by the founder, Jason Atkins. It is his dream
and goal to help develop film makers who can make a difference in our
industry by making films that not only entertain, but provoke thought and
that can motivate positively. (think "Bucket List"). I had the privilege
to work on the film in 2008 that took 2nd place ("Alius Primoris") and got
to know the staff and experience the process. The Doorpost is truly an
amazing organization. They give such a HUGE level of support to the film
makers. This past year, I was an "advisor" on RED post production with them.
I had the wonderful opportunity to meet all the film makers and be a
resource to help in post. They provide mentors who are industry specialists
in every area to assist the film makers, from script writing all the way
through post. Their mission statement is "Seek/Honor/Serve/Build/Share"
http://www.thedoorpost.com/info/mission/

We are working with the very talented director, Josh Weigel, from the
Butterfly Circus, to do a revised version and will be re-color timing and
doing some additional FX shots. Audio is being sweetened as well. (The mix
was the weakest thing about the film). I've never seen a short film that
has had such a positive effect on me personally. My kids and family love
this film. Even my 4 year old daughter says regularly and with an accent,
"What this world needs is a little wonder!" :) (She has it on her iPhone).
I think I've watched it thirty times at least.

Have you seen what they (Doorpost) are doing for 2010? They will narrow it
down to 5 finalists which will each get a budget of $40,000 to make their
final films. What other film competition does that? Plus they fly the film
makers all expenses paid to the Red Carpet event and awards ceremony. Not
to mention the huge prize money.

This year our shop did the FX and compositing on "La Premiere" which won 2nd
place. It is an incredible film as well and was narrated by James Earl
Jones.

If you haven't had a chance check out www.thedoorpost.com and browse the
final films form the last couple of years. You will be inspired on so many
levels, from both the technical and the awe of skill and creativity.

Cheers,
Timothy Duncan

On Sun, Nov 8, 2009 at 5:16 PM, Ben Wharton
<b.wharton@...<mailto:b.wharton%40dsl.pipex.com>> wrote:

>
>
> A bit OT, but after checking out The Door Post Film Project, I'm very
> intrigued as to where their funding comes from. The standard PR fluff is
> very. fluffy.
>
> Does anyone know any more?
>
> Ben
>
> Ben Wharton
>

[Non-text portions of this message have been removed]


No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.425 / Virus Database: 270.14.52/2484 - Release Date: 11/10/09
19:56:00


[Non-text portions of this message have been removed]

Yes -- The Doorpost is funded by the founder, Jason Atkins. It is his dream
and goal to help develop film makers who can make a difference in our
industry by making films that not only entertain, but provoke thought and
that can motivate positively. (think "Bucket List").   I had the privilege
to work on the film in 2008 that took 2nd place ("Alius Primoris") and got
to know the staff and experience the process. The Doorpost is truly an
amazing organization.  They give such a HUGE level of support to the film
makers. This past year, I was an "advisor" on RED post production with them.
I had the wonderful opportunity to meet all the film makers and be a
resource to help in post. They provide mentors who are industry specialists
in every area to assist the film makers, from script writing all the way
through post. Their mission statement is  "Seek/Honor/Serve/Build/Share"
http://www.thedoorpost.com/info/mission/

We are working with the very talented director, Josh Weigel,  from the
Butterfly Circus, to do a revised version and will be re-color timing and
doing some additional FX shots. Audio is being sweetened as well. (The mix
was the weakest thing about the film).  I've never seen a short film that
has had such a positive effect on me personally.  My kids and family love
this film.  Even my 4 year old daughter says regularly and with an accent,
"What this world needs is a little wonder!"  :) (She has it on her iPhone).
   I think I've watched it thirty times at least.

Have you seen what they (Doorpost) are doing for 2010? They will narrow it
down to 5 finalists which will each get a budget of $40,000 to make their
final films.  What other film competition does that?  Plus they fly the film
makers all expenses paid to the Red Carpet event and awards ceremony.  Not
to mention the huge prize money.

This year our shop did the FX and compositing on "La Premiere" which won 2nd
place.  It is an incredible film as well and was narrated by James Earl
Jones.

If you haven't had a chance check out www.thedoorpost.com and browse the
final films form the last couple of years.  You will be inspired on so many
levels, from both the technical and the awe of skill and creativity.

Cheers,
Timothy Duncan


On Sun, Nov 8, 2009 at 5:16 PM, Ben Wharton <b.wharton@...> wrote:

>
>
> A bit OT, but after checking out The Door Post Film Project, I'm very
> intrigued as to where their funding comes from. The standard PR fluff is
> very. fluffy.
>
> Does anyone know any more?
>
> Ben
>
> Ben Wharton
>


[Non-text portions of this message have been removed]

Graphic Designer vs Client:
http://www.youtube.com/watch?v=VfprIxNfCjk

Graphic Designer vs Client The sequel:
http://www.youtube.com/watch?v=XCjcwBGQtiw

NB - NSFW

K

On 11. nov. 2009, at 09.06, Robin S. Kurz wrote:

> Hmmm... gee, wonder if it could actually have something to do with
> this?!:
>
> http://tinyurl.com/yadcezg
>
>
> On 11.11.2009, at 06:50, Multimediac wrote:
>
>> Inspired by? It used the same plates and models.
>>
>> Pretty nerdy.
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To learn more about the FinalCutPro-L group, please visit
> http://groups.yahoo.com/group/FinalCutPro-LYahoo! Groups Links
>
>
>

Hmmm... gee, wonder if it could actually have something to do with this?!:

http://tinyurl.com/yadcezg


On 11.11.2009, at 06:50, Multimediac wrote:

> Inspired by? It used the same plates and models.
>
> Pretty nerdy.


[Non-text portions of this message have been removed]

Inspired by? It used the same plates and models.

Pretty nerdy.

g





[Non-text portions of this message have been removed]

pretty sure that one's been inspired by this piece;

"Booking An Audio Session"
<http://www.youtube.com/watch?v=oVPkm5zE6QI>

this is probably funnier,
but given it's based on Ad industry "Creatives", there's a bit more
scope.


nick



On 11/11/2009, at 2:01 AM, tcurren wrote:

> http://www.youtube.com/watch?v=90ujBl-u2BA
>
> [Non-text portions of this message have been removed]
>
>
>



[Non-text portions of this message have been removed]

Early December - tapeless acquisition preferred (P2, XDCam)

Local crews only please.

Tim McLaughlin
Avid and Final Cut Pro Editor
http://www.mcltim.com
Phone (847) 358-0277
Cell (847) 370-4379



[Non-text portions of this message have been removed]