Final Cut Studio 2 - Stabilization

This may be old news to some of you. A known challlege with FCS2 stabilzation is that it must analyze the entire clip (even if in background). Well, if you have 10 seconds from a 10 minute take, that is a real issue and will take a very long time.

A quick workaround is to send to Motion and do the stabilization there. Motion only analyzes the in/out point range selected...much faster! It also automatically updates your file in Final Cut so not need to manually do it.

I am finding this incredibly useful.

This may be old news to some of you. A known challlege with FCS2 stabilzation is that it must analyze the entire clip (even if in background). Well, if you have 10 seconds from a 10 minute take, that is a real issue and will take a very long time.

 

A quick workaround is to send to Motion and do the stabilization there. Motion only analyzes the in/out point range selected...much faster! It also automatically updates your file in Final Cut so not need to manually do it.

 

I am finding this incredibly useful.

Yes, this round-trip can solve the time issue. However, there is another method to handle it within FCP. It is a question of taste, but you can use subclips during editing, instead of using only the master clip and making in-out points and drag the selected video to the timeline. I used to select the in-out points as well, but after this I make subclips - small clips from the big clip. At the end, I can even delete the original clip, since I have selected all those clips which are needed to the project. Or, if you have enough space, you can keep it, since you can make from any subclip another one. A subclip is independent from its origin.

The reason behind subclips is: you have to work with smaller clips. And, in case of the Smoothcam filter, it will analyze only the selected subclips and nothing more. If you like to make round-trips to Motion and back, it is OK, it gives the same result, I wanted to show only another way...

Jules

And finally, the key to using Stabilization within FCP (the Motion alternative is a good one but is an alternative) is to select the in and out points of the clip that you want. Since Stabilization uses the entire media file and thus a ton of time is killed, simply export the in/out points as a self contained quicktime movie. Now reimport that into FC and place in your timeline. Now add the stabilization filter to it. It will proceed to analyze only the newly imported QT.

Steve B)

And finally, the key to using Stabilization within FCP (the Motion alternative is a good one but is an alternative) is to select the in and out points of the clip that you want. Since Stabilization uses the entire media file and thus a ton of time is killed, simply export the in/out points as a self contained quicktime movie. Now reimport that into FC and place in your timeline. Now add the stabilization filter to it. It will proceed to analyze only the newly imported QT.

Steve B)

Or just add the stabilzation to everything and then let it analyze/render while you sleep

Actually it is a great feature in FCP 6, though not as many parameters to tweak as in Shake. The results seems fairly good though anyway.

I really like the subclips approach. BTW: Color does not accept Motion files So, my method is not longer recommended if you plan to use Color. I will follow the advice above to simplify my workflow.

And finally, the key to using Stabilization within FCP (the Motion alternative is a good one but is an alternative) is to select the in and out points of the clip that you want. Since Stabilization uses the entire media file and thus a ton of time is killed, simply export the in/out points as a self contained quicktime movie. Now reimport that into FC and place in your timeline. Now add the stabilization filter to it. It will proceed to analyze only the newly imported QT.

Steve B)

You don't have to make a 'self contained' movie. Make a reference movie and avoid redundant media. Stabl will only read the reference clip from in to out. And way faster.

Regards,

A reference movie doesn't contain any media but refers back to the original project. Since the inception of FCP version 1, a self contained movie, tho' having larger files, has always been more stable than a reference movie. Recently, the reference movies have grown in reliability and stability so the choice is not as imperative. I prefer to stick with self contained films. I also do not export to compressor but make a self contained movie first and drag that into compressor. It really is a matter of choice and not a right or wrong way of doing it.

Steve B)

A reference movie doesn't contain any media but refers back to the original project. Since the inception of FCP version 1, a self contained movie, tho' having larger files, has always been more stable than a reference movie. Recently, the reference movies have grown in reliability and stability so the choice is not as imperative. I prefer to stick with self contained films. I also do not export to compressor but make a self contained movie first and drag that into compressor. It really is a matter of choice and not a right or wrong way of doing it.

Steve B)

Steve FWIW on the self-contained vs reference I agree and do the same thing (or did more than now as described below, also note the reference file will reference render files). As to the export to Compressor issue, I was totally of the same head as you. Since FCP 2 and the new Compressor it does seem perkier so sending out straight to Compressor is not quite as painful as it was. Also the quality seems improved, to the point that some things look better going straight to Compressor then even rendering according to many (even rendering to uncompressed Codec) by the way they work together and skipping the intermediate step, thing like carrying forward certain Motion elements in a timeline, etc.

But as you said, it really it is a often a matter of choice. Just figured I would mention checking this out (like I said I have been doing the self contained thing myself and kept on testing as things moved along and was very happy with what I am seeing in the new Compresser/FCP combo )

Yep Drew, you're right...things have been improving all over FC Studio. Actually, now, if you export to Compressor you don't even need to render as that will be done automatically. Never the less, I don't take advantage of that and always render before exporting to my desktop a self contained movie. While I never use the media manager, I use the render manager frequently. I especially do this at the end of a project when I have a ton of renders and rerenders. I delete them all in the render manager and rerender saving myself a great deal of HD space.

I think that everyone simply develops the workflow that is most advantageous for themselves and also the most comfortable. It is like a habit you get into even when someone sometimes has a better way of doing the same thing. It is a workflow you are used to.

Steve B)

I've been playing around with smoothcam recently and occasionally I'm getting some weird effects, sort of like the whole image 'warping' is the only way to describe it. It's sometimes hardly noticeable and I doubt that anyone watching it as a one off would notice at all (unless they had a real eye for it), but it is definitely there if you look close enough. Has anyone else had this same problem?

Cheers, Simon

I've been playing around with smoothcam recently and occasionally I'm getting some weird effects, sort of like the whole image 'warping' is the only way to describe it. It's sometimes hardly noticeable and I doubt that anyone watching it as a one off would notice at all (unless they had a real eye for it), but it is definitely there if you look close enough. Has anyone else had this same problem?

 

Cheers, Simon

Yup I have seen it also, seems to be areas where there is a more sudden change. Also noticed it when using Shake beforre the stabilization in FCP 6.

If I recall correctly, Drew in another thread (can't find it now) discussed image stablization issues in cameras when shooting underwater and how it may not work as well as above land. It may be related in that the algorithms look for something and underwater footage throws it off.

One thing to try is dial down the stabilization a bit. The defaults are 2.5 in the FCP 6 filter, dropping them down to lower numbers seemed to help and also the image quality comes up a bit. Depends on the shot though. I have started playing more with the settings, but have not really nailed it down as much as I want to (ditto with Shake). I will go back at some point and try to be a bit more organized about what works and what does not and what may work better with some keyframing.

Thanks RealDrew - I was beginning to think that I was imagining it!

FCS2 is a huge learning curve coming from Premier. I've just got the basics down in FCP and I'm now learning more detailed stuff. I can just about use compressor and can 'just' about successfully make a basic DVD through Studio. As for Motion and Color and Soundtrack, I've only opened them up, looked at the screen and closed them back down again! I think it's going to be quite a few more months before I'm brave enough to open them up again!

Cheers, Simon

Thanks RealDrew - I was beginning to think that I was imagining it!

 

FCS2 is a huge learning curve coming from Premier. I've just got the basics down in FCP and I'm now learning more detailed stuff. I can just about use compressor and can 'just' about successfully make a basic DVD through Studio. As for Motion and Color and Soundtrack, I've only opened them up, looked at the screen and closed them back down again! I think it's going to be quite a few more months before I'm brave enough to open them up again!

 

Cheers, Simon

Do not let the other apps intimidate you (well Color is kind of different), you can get the basics down very quickly for the other 2 apps (Motion and Soundtrack) and make some cool things. Also DVD SP is not too difficult.

And of course in a pinch the iApps themselve can do some things very quickly and easily. I use them alot for things here and there.

Yup I have seen it also, seems to be areas where there is a more sudden change. Also noticed it when using Shake beforre the stabilization in FCP 6.

 

If I recall correctly, Drew in another thread (can't find it now) discussed image stablization issues in cameras when shooting underwater and how it may not work as well as above land. It may be related in that the algorithms look for something and underwater footage throws it off.

 

One thing to try is dial down the stabilization a bit. The defaults are 2.5 in the FCP 6 filter, dropping them down to lower numbers seemed to help and also the image quality comes up a bit. Depends on the shot though. I have started playing more with the settings, but have not really nailed it down as much as I want to (ditto with Shake). I will go back at some point and try to be a bit more organized about what works and what does not and what may work better with some keyframing.

Drew, Good point on on-board camera stabilization. I think what jacks it up is the housing's dome. The internal camera sees what is beyond the lens and tries to include the dome. Results in every other frame issue. (I have samples of this effect, not special effect, and will post a few frames when I'm in the studio) Turn it off on the camera for better quality images and for crying our loud hold that darn camera steady! LOL

Regards.