At least from time to time you’ll end up with a 25fps sequence and clips that have been shot at 24fps. In Final Cut Pro X you can mix different clip formats and frame rates voluntarily, but you won’t have control over the end result. Other than just drop clips in a Final Cut Pro X sequence and not worry about it, I found five ways to change a 24fps clip to a 25fps one — using either Final Cut Pro X, Motion, After Effects or Media Composer.
When you shoot time lapse or slow motion, chances are that your resulting footage contains quite some flicker, or has a “restless” quality to it. With time lapses that is mainly due to the difference in brightness from frame to frame. Slow motion has its own problems that can cause flicker. Even regular footage may cause flicker, for example when you’re shooting in a LED lighted studio. There’s not much you can do about it, except with the new plug-in Flicker Free from Digital Anarchy.
David Newman, Senior Director of Software Engineering for GoPro answered some questions that I had after writing my story on transcoding GoPro files to ProRes 422. I kept wondering if the intermediate step of transcoding — as I have been doing over the years — is the best approach for handling and processing GoPro Cineform files. From his answers that I received by email I learned it isn’t necessary.
How do you stabilise footage that’s been shot with a handheld camera or a badly performing stabilising system? With the Stabilisation module of Final Cut Pro X? Except for a heavy tripod, you will never be able to lock out unwanted camera movement, common knowledge predicts. But I found you can do better than with the built-in stabilisers of most NLEs. There’s a plug-in that does a great job at stabilising in post-production. It’s CoreMelt’s Lock and Load.
Cooperation between a software developer and a celebrity hardly ever results in something as powerful as iZotope’s BreakTweaker, a drum sculpting and beat sequencing machine. BreakTweaker is a virtual instrument for your DAW (Digital Audio Workstation). It is the result of a cooperation between iZotope and world famous producer and technologist BT. There are two aspects to BreakTweaker: it’s immediately usable by end-users and designers will love the infinite ways to create unique rhythms. For example, if you create movies and want to add a rhythmic score to your picture quickly, you’ll buy the Expansions (there’s one for Cinematics) and play the samples you feel are fitting with the style and mood of the picture. If you want to create something unique, you’ll create a BreakTweaker sequence yourself. With both options, the possibilities are truly endless.
Sound Forge Pro Mac 2 responds nicely to what users most wanted: integration with SpectraLayers Pro 2.1 and FLAC support. Other new or improved features include an automatic trimming/cropping tool, a Volume plug-in, broadcast CALM-loudness compliant metering, event mode improvements and a new iZotope plug-in (Nectar Elements). Also brand new is the “Convrt” batch processing automation tool, which is a separate batch app.