Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Final Cut Pro tutorial, this video will focus on how to render from start to finish part 1/2.
Tags:How to Render Part 1/2 - Final Cut Pro 6,apple software,apple tutorials,appleshakerguru,fcp rendering final cut pro,Final Cut Pro,final cut pro effects,final cut pro effects tutorial,render from start to finish,software tutorials
Grab video code:
Hey guys this is EMeek77 from www.FinalCutStudioSchool.com and I’m here to talk to you a little bit about Rendering.
A lot of people ask me about rendering, and I’m going and try to explain it the best I can. It’s really complicated in some ways. In some ways it isn’t. So try to bear with me. As you can see I’ve got a bunch of clips loaded into my timeline here. The 168 TV clip, 168.264 clip, once a Apple ProRes clip and one is a DVC ProHD clip I think. 720P and as you can see all of them need rendered. This little red line right here above the timeline. The top one is for video and the bottom is for audio.
Now as you can see in certain spots my audio is red in certain stop is not, but my video on line is all red. When the video in the line is all completely red this means your clip needs rendered. It’s not going to held. It’s not going to play back when I play it back watch what happens. I get an unrendered screen telling me that I need to rendered and 1:14 the beats and we play it for you here. The beats are telling me that my audio needs rendered, so why does this need rendered? Why do all of my clips need rendered? Well I have my sequence set to a setting that doesn’t correspond within in my clips. As I said I have a HDV clip, an 8264 clip, a DVC pro clip and an Apple ProRes clip.
Now this is sequence one right here. Okay, now if I go over here to my browser right here sequence one. Now over here on the rack there’s a little let me drag this out for you can see it better. Here’s your media browser now, and this lists your all clips and over here is a lot of the information that is really useful, and if you scroll over it will give you your frame right. Your frame size and the frame is for secant and your compressor. As you can see right here with my frames size for the HDV clip here’s my frame size 14 back in 80 between that .9 seven frame the secant and the compressor is HDV 108060, and the movie clip below it is an H.264 clip. This interface clip here is an animation clip, and this Eliot Sanders is anApple ProRes clip.
Now why do these clips need rendered in my timeline? Well like I said before if you noticed we’re in sequence one, so right here sequence one. Now if I scroll we’re looking to compressor at sequence one. I will notice the compressor is a photo JPEG, so the sequence of the compressor matches non with my clips, so what I’m going to do is select my timeline. I’m going to go up to sequence select settings. Now under my general tab there is a QuickTime video settings for compressor and is set to photo JPEGs. It’s photo JPEG. Now if you notice I can go in here and click it and set to anything I want. Now if you set this compressor setting to match the compressor of your clip. You will not have to render so let me give you an example here. Change the sequence setting here, and let me show what I’m talking about. So I’ll change my sequence setting to Apple ProRes 422. Apple ProRes 422 is what I used for everything when I edit anything that I’m doing in post production is Apple ProRes 422. I get high definition quality at standard definition files office. And then on my final output for YouTube I will run it to compressor and change it to 2864, but as far as editing and everything else is concern Apple ProRes it is extremely fasts at rendering and it keeps the HD quality at SD sizes. So anyway that was a sad note. I want to change it to Apple ProRes. Now you can see that the compressor is Apple ProRes compressor. I want to say okay. Now automatically did you that? Boom! My clips to green, one third orange. Now you see over my browser I’m sequence is now Apple ProREs 422, and if you notice my Eliot Sanders clip is an Apple ProRes 422. So when I pulled my Eliot Sanders clip which is right here. You will notice the lines above it are completely grade out which means no rendering is needed, and why is no rendering needed? Because the clip matches this. This is the compressor of my clip matches the compressor you have my sequence.
Remember about the sequence go to settings set your compressor to whatever compressor your clip is. If you have several different compressor tops in one timeline like two DVC pros and animation in a ProRes well there’s only so much you can do set the compressor to the setting that you have the most of the clips. If you have three HDV clips and only two ProRes you know set it to HDV. You should have to render, but what I do is I leave everything Apple ProRes 422. I leave my compressors settings the Apple ProRes 422, and up here in windows control I go down to my codec. A lot of people don’t know this. A lot of people have it set to same the sequence codec. I change it to Apple ProRes 422. This will speed up rendering tremendously. So now I have my compressor set to my clip setting, and I have my window control set to Apple ProRes 422. Now I’m going to leave my Apple ProRes 422 because I use that for everything. But like I said yours would be whatever setting your clip is. So now I have both have them set, and now you can say as still a few clips need rendered. The green is a preview means you still need to render it before you export, but you’re going get for play back almost poor qualify back, the dark green clip which I don’t have any on here right now. It almost looks great that means is for it’s ready to go. It don’t even need rendered before export. The orange bar means that you can play it back at you know 4S and everything. It needs rendered, but you might have some drop frames. If you have a red bar like I said it needs rendered. If you have a yellow bar to proxy it needs rendered. If you have a dark gray it’s a rendered proxy. And we can get to all that later, but now as you can see I want to have change to my sequence setting this setting at ProRes since some of my clips are ProRes it went to green like HDV you want have to rendered with Apple ProRes and stuff like that. So now okay, I’ve got my clips and everything set up my sequence is set to 422 whatever my clip happens to be in my window settings set to 422.
Now I want to go to my little RT right here in my render selections, and put my window selection and unlimited RT. Now put it on safe RT you’re going to have to render a lot more. Do you see that right there? Automatically my audio went red I might have to rendered. What does it means is it’s just let you know to be safe we’re going to have to render everything you know. So put the unlimited RT the unlimited RT will help to go on play back when I do that as you notice my foot change back to filler. You do it again safe those red from orange, and when I go to unlimited it goes to orange. Now you may get drop frames don’t worry about it just don’t worry about your drop frames check the box to tell you that it’s not worrying you anymore because when you export on final export your drop frames will not be there. It’s just droopy frames within final cut, so you could have a played, so you can see your movie playing back. So if you have drop frames in play during play back don’t worry with your export they won’t be there.
So now okay everything is good but I want to tell couple of things to help your render settings speed. What I have is here I set my play back quality to low. Now if you want it to be higher, then what that means, the play back on your canvas. If you want it to be higher you can. I leave my set to low because when you export you will automatically be export that is higher setting. This is just for timeline and editing purposes, so I leave mine set to low because the lower there is, the more will play back you’re going to give. So with that set to unlimited RT low, and the sequence setting set to whatever my clip is. This is going to be my best bet for not having a rendered. And as you can see I can play this whole time when I’m back without having to render.
So now I was talking about my always using 422 I always use 422 no matter what well you think of yourself, “Eric how do you use 422 if you bring in a clip and it’s an animation?” Well we’re going to use the media manager. I use the media manager before I start any project. What media manager does is it takes all your different type of clips, and it convert them into one solid compressor. So what I’m going to do is I’m going to select all these clips, and I will go up to file media manager, and under recompressed media I’m going to change it to whatever I want to recompress this I’m going to recompress it too Apple ProRes 422 and TSC 48 pillars. Now that will give us the original file size and it’s going to be the modified file size.