Aprende Final Cut Pro X en 30 minutos (o menos)

Un excelente tutorial para aprender a usar Final Cut Pro X en 30 minutos (o menos)

Deinterlace #Canon HV20/HV30/HV40 #HDV 60i #Video to MOV 24p for FCE/FCP/Adobe Premiere

Canon HV20/HV30/HV40 is a great choice for HD-happy amateurs, but its low-light performance could have been better. HV20 and HV30 wrap in 60i. Some confusion on if HV40 does/did the same. When it was launched it was claimed to be different, but in practice is it? It’s still a single CMOS sensor, and still HDV. And still looks a bit washed out without color grading IMO.
HDV stores the video as 1440 horizontal pixels by 1080 vertical pixels. FULL HD is typically 1920 horizontal and 1080 vertical. Both are 16:9 aspect rations. HDV is an mpeg2 codec and FULL HD / AVCHD / AVC1 is an h264 codec.

No matter what, if you have a Canon HV20/HV30/HV40 for shooting HDV 60i footages, you will have a problem of displaying the video with many interlaces. So before sharing your HDV footages with family, or before editing the HDV files with FCE/FCP/Adobe Premiere Pro/iMovie, you need deinterlace/convert Canon HV20/HV30/HV40 HDV (60i) files to HDV 1080p24 (*.mov) or HDV 720p24 (*.mov).

Aunsoft Video Converter for Mac as the recommended Canon HV20/HV30/HV40 HDV (60i) files to Apple HDV 1080p24 (*.mov) or HDV 720p24 (*.mov) Converter on Mac. It does not only allow you to trim and crop HDV footage, but also deinterlaces/merge HV20/HV30/HV40 HDV 1080i videos, convert 1080i to 1080p.

Below is the simple guide about how to deinterlace/convert Canon HV20/HV30/HV40 HDV (60i) files to Apple HDV 1080p24 (*.mov) or HDV 720p24 (*.mov) for FCE/FCP/Adobe Premiere Pro/iMovie. It also works for iMovie 8/9 and even 11.

Step 1. Download Canon HV20/HV30/HV40 HDV videos to Aunsoft Video Converter for Mac. Click the “Add” button to download 1080i .hdv files from camcorder to the application.

Step 2. Choose HDV 1080p/24 MOV or HDV 720p24 MOV output format.

Click the “Format” option, and navigate to FCP > HDV 1080p/24 (*.mov) or HDV 720p24 (*.mov) as output format. The Mac HV20/HV30/HV40 HDV to MOV converter will convert HV20/HV30/HV40 HDV files to MOV for FCE/FCP/Adobe Premiere Pro/iMovie.

Step 3. Deinterlace Canon HV20/HV30/HV40 HDV 60i video.

Select a clip on the file list, and the “Editor” button will be activated. Click the “Editor” button and go to the Effect tab to tick the checkbox for deinterlacing. The apply to all button is to deinterlace all the videos on current file list.

Step 4. Convert Canon HV20/HV30/HV40 HDV video to HDV 1080p/24 or 720p24 MOV for Mac.

Click the convert button under the preview window, the Mac Canon HV20/HV30/HV40 video converter will start the conversion and deinterlace Canon HDV 60i video to 24p MOV for fast editing in Final Cut Express, iMovie, and other Mac applications.

Tips: Pros and cons of MPEG-2 HDV vs H.264 AVCHD


Mpeg2 doesn’t require a lot of thinking by the computer. H264 does require quite a bit of decoding to render (or convert). Let’s call that speed. So mpeg2 is faster. But mpeg2 (HDV) isn’t as efficient and relatively wastes bits. With a minor trade off of having more bits (25Mpbs CBR) and fewer pixels to represent with those bits (1440×1080). If it were h264, it would be better. But since it’s not and h264 is more efficient, h264 (AVCHD) is generally considered better. Relatively anyway. They’re both compressed and lossy.

This entry was posted on Wednesday, January 26th, 2011 at 9:27 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

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Descarga Gratis el Software de Edición Sony Vegas 9 y obtén tu licencia GRATIS en la compra de una HVR-HD1000

Descarga Gratis el Software de Edición Sony Vegas 9 y obtén tu licencia GRATIS en la compra de una Cámara Sony Profesional de Alta Definición Modelo HVR-HD1000

Esta oferta es por tiempo limitada y sujeta a 3 equipos máximo por cliente

http://www.video.com.mx/compraventa/Sony_HVR-HD1000.htm

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Editing Software Sony Vegas

Apple Editing System Final Cut Pro 7 New Upgrade

You can upgrade to the new Final Cut Studio for $299.

Puedes comprar tu upgrade de Final Cut Pro

Jan Ozer gives us a screencam presentation of Apple Final Cut Pro 7’s key new features, including the Share option, Blu-ray output, speed control, new ProRes formats, and YouTube upload.

http://digitalcontentproducer.com/dcptv/final_cut_pro_7_0727/

New Final Cut pro Version 7

http://digitalcontentproducer.com/desktoppost/depth/final_cut_pro_7_723/

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Lesson 3.2: The Timeline

Well, the Timeline: This is where the magic happens. You may set effects and in-points and out-points in the Viewer, or select those effects in the Browser, but your project ends up here... The almighty Timeline. 

Actually, at first glance (and based upon personal and shared opinions) the Timeline looks like the easiest window to understand, specially if you´ve worked on iMovie. And it is, if you use the basic knowledge: you pull the clip, and drop it on the Timeline, like we did on Lesson 3.1. But then, you´d have a sequence featuring tons of bumps, and jumps, and audio problems, etcetera.

The Timeline and the Canvas have a smbiotic relationship: Both display two different views of the same sequence, were the Timeline shows the chronological arrangement of clips ad layered video and audio clip items, while the Canvas provides  single view of your sequence as it will appear on whichever media you´ll be playing it.

On the upper right corner of theTimeline you´ll find the tabs for each different sequence you´ve created. Using the timeline, you can quickly navigate through an entire edited sequence, adding, rearranging and removing clip items.

One thing you´ll notice is that the playhead in the Canvas mirrors the playhead in the Timeline, which means you can use the Canvas to add in-points, out-points, markers and keyframes in the Timeline, and viceversa.

You can open sequences from the Browser in the Timeline, by double clicking the desired sequence in the Browser. Also, if that sequence had previously been opened in the Timeline, you can select it from the tabs I mentioned earlier, located on the upper right corner of the Timeline. To close a sequence, simply select the sequence´s tab in the Timeline, and choose File>Close Tab

On the Lower right corner of the Timeline you´ll find the keyframe and track controls: Toggle Clip Overlays and Toggle Clip Keyframes. The Toggle Clip Overlays button allows you to actually see the levels of opacity and sound in the sequence´s clips, while the Toggle Clip Keyframes button allows you to edit keyframes in the clip. Those of you familiar with Macromedia Flash (now known as Adobe Flash, since the release of CS3=, or Corel R.A.V.E (known asCorelCAPTURE, from the release of CorelDRAW Graphics Suite X3 on(man, has it been that long since I learned to use animation software????)) , or any other animation software will know what a keyframe is, and what's it's usage.

On the right side of the Timeline, we found ourselves with the Editing Controls: Source and Destination, Track Visibility, Lock Track, and Auto Select Control.

Today´s shortcuts: 

Snapping: N

Linked Selection: Shift+L

Clip Overlays: Option+W

Render All: Option+R

That´s all for today. Keep an eye out for Lesson 3.3

Final Cut Pro

Lesson 3: Editing 101

Well, we've gotten here. That's quite a step, you know? Many people just stare at the computer and say: Meh, I think I'll do it in iMovie instead... But if you've followed since Lesson 1, and at least have tried to set a scratch disk, then you are worthy of recognition

This one is a strange lesson, because I can't really tell how you should edit your videos. I can only pass on some old editing wisdoms, and say what buttons do what things. But editing works two ways:

1. You follow your instinct
2. You obey the producer's orders

It is also an extensive lesson we'll have to divide into 4 parts. Today we'll concentrate on basic editing. So, let's get started...

First of all, ancient editing wisdoms:

1. Long clips are boooooooriiiiing! Keep it short, 10 seconds per clip, at it's most...
2. Do not overuse effects. It looks cheesy, and it can force your computer into a crash, unless you render
3. Transitions ARE an effect
4. Sound is important. Try to use sound transitions whenever sound levels jump a lot between clips
5. Don't listen to music while editing... Trust me...
6. Save your project, for God's sake, Save every 5 minutes!!! You can't trust on the autosave feature too much...
7. Don't edit more time than you can spend having fun. You'll get bored, and eventually, you will do neither. Try to balance it..

Now, off to the EditCave (cheesy 70´s superhero music):

If you've payed attention, you now know each of the windows in FCP (Browser, Canvas, Viewer, Timeline). You also know how to upload footage (Log and Capture). So now, all you've got to do is, move your mouse button over to the Browser. That's it. Double-click the desired clip to make it appear on the Viewer. Now that "Kat's_Birthday_Party_001.1" is on the viewer, proceed to select an in and an out point. (Remember Lesson 1's shortcuts? I= set in-point, O = set out-point) Now, once you've set the in-point at the moment Kat's face is shoved deep into the cake by good old Tommy Benson, and the out point when Kat throws cake at Tommy's face, click and drag the Viewer's screen. You can either drag it to the Timeline, and drop it there, or to the Canvas, were a small multicolored menu will appear, displaying different options: Insert, Superimpose, etc. Choose the one you prefer. If your clip appeared exactly as you wanted on the Timeline, congratulations, you've succesfully edited a clip!!!

Now, that's adrenaline, ain't it?

Keep tuned for part 2 of lesson 3!

Final Cut Pro

Non-Linear edition's importance in today's media (or "Remember how edition was like 30 years ago?")

Ah, the 60's!!!

The music, the colors, the movies, the clothing, the hair, the forcefully linear edition...

When someone who knows about edition, or knows something about the entertainment business talks about linear edition, you can almost see the goosebumps popping in his' or her's skin. Linear edition was tedious, boring, and extremely difficult. Imagine having to take a look at a whole tape, looking for the right shot the producer or director wants. You'd need at least two VCR's ( and not any VCR, if you want your video to look just right), a switcher, a mixer, at least two monitors's, a big bunch of cables, and a thumbs-up editor, for when your boss shouts at you "I like that!! Tag it!!!"

Then along came CMX 600 in 1971 , and all our problems were solved. It recorded & played back black-and-white analog video recorded in "skip-field" mode on modified disk pack drives the size of washing machines. The 600 had a console with 2 monitors built in. The right monitor, which played the preview video, was used by the editor to make cuts and edit decisions using a light pen. The left monitor was used to display the edited video. A Digital PDP-11 computer served as a controller for the whole system.

After that came LucasFilm's EditDroid in the 80's (the name is obviously influenced by Lucas' Star Wars trilogy) and the Avid1 as the first in it's line of Media Composer systems in 1989. I actually saw an Avid1, and even pressed it's buttons (that sounds a bit primitive, but I was only 5 back then. The term "computer" and "delicate equipment" meant nothing to me)

Avid then forged it's status as market leader in edition software, but two new cowboys were about to enter the scene. The first one was Adobe Premiere, which was launched in 1992 but only became a serious threat to Avid in 1995. And the other one was Final Cut Pro, in 1999, back when good ol' Steve Jobs was rocking the computer world after NeXT was bought by Apple in 1996.

The thing about non-linear editing, is you can 2 two different parts of the movie at a time, or you can easily find that scene you are looking in tape 2, without having to scan the whole movie again. It's all 1's and 0's, baby

While Avid Media Composer is mainly used by big Hollywood filmmakers, Final Cut Pro and Adobe Premiere have found their way into the hearts of young (and not so young) independent filmmakers around the worlds. Final Cut Pro's user base is 49% percent of all professional editors, with Avid at 22%.

All this serves to a purpose: an introduction to a series of tips, lessons, secret features and many other things I'll be publishing in the next couple days, so stay tuned if you are interested in learning how to make your vacation video even more neat!!!

Until Next time!!!

Final Cut Pro
Avid
Adobe Premier
Video Editing

Video and Television postproduction editing in Mexico