The Original Clip Could Not Be Found Or Reconstructed

[Mirta Dozar]

Heres an image sample. Here's also an old link that I found where I happened to be dealing with this issue years ago. There seems to be others as well, but no solution inside FCP. I am not looking to tamper with an XML file; particularly if I have Motion generators in my project which XML can't fully rebuild.

To your first question - yes a Shift- on a non-grey clip takes me to the clip in the browser. However, there's something I just discovered. Even the non-grey multcam clips in the timeline have grey clips inside the multicam clip just like the greyed out one. This is peculiar. The only difference that I can tell is that one clip in the timeline is blue and the other is grey. In both cases the roles for these clips cannot be set.

There are different multicam clips in this project based on the scene and take. The multicam clips that aren't working are the ones with no frame images in them on the timeline as shown in the image (which also show different multicam clip names).

If I select the clip in the multicam or a single clip on the storyline that's also greyed out, then attempt to do a "reveal in browser" this results in a "Failed to reveal clip" notification with further text The original clip could not be found or reconstructed.

Music is a universal human experience. Past research has identified parts of the brain that respond to specific elements of music, such as melody, harmony, and rhythm. Music activates many of the same brain regions that speech does. But how these regions interact to process the complexity of music has been unclear.

An NIH-funded research team, led by Drs. Ludovic Bellier and Robert Knight at the University of California, Berkeley, used computer models to try to reconstruct a piece of music from the brain activity it elicited in listeners. The study appeared in PLoS Biology on August 15, 2023.

Certain patterns of brain activity matched specific musical elements. One pattern consisted of short bursts of activity at a range of frequencies. These corresponded to the onset of lead guitar or synthesizer motifs. Another pattern involved sustained activity at very high frequencies. This occurred when vocals were heard. A third pattern corresponded to the notes of the rhythm guitar. Electrodes detecting each pattern were grouped together within the STG.

To narrow down which brain regions were most important for accurate song reconstruction, the researchers repeated the reconstruction with signals from various electrodes removed. Removing electrodes from the right STG had the greatest impact on reconstruction accuracy. The team also found that music could be accurately reconstructed without the full set of significant electrodes; almost 170 had no effect on accuracy.

These findings could provide the basis for incorporating musical elements into brain-computer interfaces. Such interfaces have been developed to enable people with disabilities that compromise speech to communicate. But the speech generated by these interfaces has an unnatural, robotic quality to it. Incorporating musical elements could lead to more natural-sounding speech synthesis.

For many of these shots, I would first apply a Gaussian Blur effect. This produced a more 80s vibe, but I would lose details I was still hoping to capture, and sometimes I felt the frame had just become less dynamic as a result.

Almost by accident, I ended up landing upon an effect stack where the aforementioned Gaussian Blur was fed into an Unsharp Mask. After playing with some of the parameters, I found what I thought to be the right amount of focus to emulate the vintage vibe of these videos.

A little while back, a local home improvement store put out a Halloween flyer and advertised a small fog machine. I picked one up and I have to say, while not as consistent as the real deal, it is hard to beat at $30 when you just want to add a touch of atmosphere.

As you can see in the video, it is also good for totally overdoing it. Which I did. Because I always do. If there is one thing I am consistent with, it is running way too much haze on set, only to curse myself in post.

In this wicked awesome parallax shot, we see a young David Byrne roll by in a newspaper clipping tossed into the grass. Here, I once again went into Photoshop to build the middle and foreground layers, which I then animated with position keyframes to achieve the same effect as the original video.

On the topic of medium-changing music videos, Peter Gabriel and his team are front of mind for me. Peter sought out visual artists from the Museum of Modern Art in New York City, and his avant-garde video machine was built up. I took great pleasure in trying to recreate some of these iconic shots, though this was not without difficulty.

As the pandemic heightened, I was left trying to pivot and replace shots and locations that were no longer accessible or responsible. This was one of those shots. Without our original bathroom location, I was forced to get a little creative.

I had an incredible amount of fun making this video. I loved the process, and it gave me a brand new level of appreciation for the artists who pushed visual mediums in the 80s with their creative visions and new uses of emergent technology.

Here's where I'm at right now in the journey because it changes, right? I mean, I'm an old man now and I've been doing this thing for a minute and it keeps evolving. Evolving, and I keep learning and I keep growing. I hope I do until I'm bones. But I think that at the moment, the thing that intrigues and fascinates me the most is probably the boring answer. Maybe it's not boring, but it's the very heady answer of I have so many perplexing questions about this life at this moment. I thought at 49 I would've really figured stuff out. I really thought I would understand why I get so depressed, why I get so anxious over little weird things. Why is it so hard sometimes to wake up in the morning? Why am I so afraid of the things that I'm afraid of? And I think that through the lens of this genre, which is unfortunately, it's not that it can't be fun, right?

Fun can happen and you could still wrestle with and explore those questions. Right now, I'm just at this place where I'm staring at the universe around me being like, God, this doesn't get easier. And then when you go through a story where you have an incredible new iconic monster or entity or event, whatever it may be, nature horror, serial killer horror, supernatural Horror, slasher gore fest. To me, that's the thing that when someone sends me a project or we're starting to develop an idea with the company that I am running right now or I'm trying to create something, that's the thing that hooks me, gets me, gets me going. It gets me really revved up about the thought of jumping in on something and giving that energy to it.

Angel Melanson: The cycle has come back around and it's time for the stuff that I really, really champion and enjoy. And also to piggyback on that, I love to see just diverse characters like queer characters, and characters of color, and it has nothing to do with the story. They just happen to be there because they just exist in normal spaces. And I would like to see a little more of that. I feel like we're slowly getting there, but we need more of that.

Peter Kuplowsky: I feel like when Jordan Peel's Get Out came, it was great, but I also think that Hollywood learned the wrong lesson, which was like, oh, we all have to make these Get Out-style movies that have to be movies about that are very much with that discourse at the top of mind.

Akela Cooper: Yeah, it was like every time I would go out to pitch something that just happened to have a black lead being in a horror movie, the execs would politely listen to my pitch and they would go, but what is this saying? And I would be like, if this situation fucking sucks and is terrifying, they're like, no, no, on a deeper level, what is it saying? And they would be like them staring at me, me staring at them, and I'm like, I'm going to make you white executives say it. But yeah, it was always like, what is it saying about the black community is like, this fucking situation is terrifying. But yeah, no, it was push that any horror film that I had to do had to say something. And I hope that what clout I have from Malignant and Megan will help me in the future get those movies off the ground now.

David Dastmalchian: Right. I guess I'm yearning to see it. I love fantasy horror. I love good science fiction horror, but I'm a lifelong comic collector and I've collected horror comics for most of my life. But I do love the intersection between superhero mythologies and horror. And I'd like to see that explored more. It has been done and there are people doing it. I think that's really exciting. And I just think there's something about the way we're intersecting with technology, which you've done in a really cool way, but what I'm yearning for right now is the way we experience it. I feel like we're all on the brink of something. I don't know what it is. I don't know if it's VR, I want a new experience for my horror and I think about this a lot. What does that look and feel like? Do we get William Castle on their asses? Is it just bringing in some kind of live element to the theatrical experience? Is that possible? Is there a way legally and financially to pull that off?

As yet, the technology can only reconstruct movie clips people have already viewed. However, the breakthrough paves the way for reproducing the movies inside our heads that no one else sees, such as dreams and memories, according to researchers.

Eventually, practical applications of the technology could include a better understanding of what goes on in the minds of people who cannot communicate verbally, such as stroke victims, coma patients and people with neurodegenerative diseases.

Previously, Gallant and fellow researchers recorded brain activity in the visual cortex while a subject viewed black-and-white photographs. They then built a computational model that enabled them to predict with overwhelming accuracy which picture the subject was looking at.

3a8082e126