Mystery Snafu Burning FCP Sequence to DVD

[Jeremy Garchow]

[Rafael Amador] “Is just a matter of the capture cards makers. “

I think it’s more specified by SMPTE than anything. ProRes is not DV, it’s D1. D1 in PAL is UFF.

[Rafael Amador] “The only problem when changing field-order is just to remember the correct one:-) “

This is the most complicated thing in PAL. A field order change between similar SD formats. You guys have it easy! ;^) At least you have whole frame rates and don’t have to worry about pulldown, drop frame, and what frame rate to shoot.

Jeremy

[Rafael Amador]

[Jeremy Garchow] “I think it’s more specified by SMPTE than anything. ProRes is not DV, it’s D1. D1 in PAL is UFF.”
Right, but the SMPTE runs today behind the developers and manufacturers.

[Jeremy Garchow] “This is the most complicated thing in PAL. A field order change between similar SD formats. You guys have it easy! ;^) At least you have whole frame rates and don’t have to worry about pulldown, drop frame, and what frame rate to shoot. “
You are right about this too and I’m very happy with no dealing with Drop Frames and Pulldown. A real nightmare.
We had the Lower/Upper Issue (depending of the codec) but this in the end had resulted in an advantage:With the arrival of the HD-Upper First we where already trained in dealing with Upper and Lower stuff in the same sequence.
We had an even more funny issue in PAL -The Color Framing- but with the arrival of the “all digital” thanks God is vanished.
rafael

http://www.nagavideo.com

[Jeremy Garchow]

[Rafael Amador] “Right, but the SMPTE runs today behind the developers and manufacturers. “

As do most ‘governmental’ bodies when accounting for the ever changing needs of the constituents.

[Rafael Amador] “We had an even more funny issue in PAL -The Color Framing- but with the arrival of the “all digital” thanks God is vanished. “

I hear that.

[Anthony Koelker]

This has been a helpful thread. But if, for example, someone like me had created this complicated sequence using footage going back five years – from Canon XL1 through my new EX3 – and composited it over motion graphics with interviews shot on green screen with a Z1… and it all looks great on my Mac, and I’m supposed to deliver a DVD and it looks horrible from the field interlace problems, what’s my best way out of this (other than changing my identity and leaving town)? I just downloaded FieldsKit 2 and am getting ready to experiment. Is this a case of having to make FieldsKit2 adjustments to every shot?

A few tech notes – my sequence is 720×480, DV/NTSC 3:2 anamorphic and most images are not full screen except some of the Z1 and XDCAM footage, so I’m not stretching things beyond their original frame sizes – mostly scaling them down. And, this sequence is 11 minutes long. Already, using Primatte Keyer Pro for some of the interviews, a full-length render is a few hours.

Any advice is greatly appreciated!

[David Roth weiss]

[Anthony Koelker] ” I just downloaded FieldsKit 2 and am getting ready to experiment. Is this a case of having to make FieldsKit2 adjustments to every shot? “

It is possible that you might have to experiment with each of the clips that displays improperly, but you might also find that the problem with one is the same problem for all.

Here’s a recommendation for you: before experimenting with the field order, go to Sequence>>Settings and change the compressor to DV50, then re-render the entire timeline. DV compression is undoubtedly hammering your graphics and text. DV50 works in 4:2:2 color space instead of the 4:1:1 color space of DV, which means that compression and artifacting will be greatly diminished.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.

[Anthony Koelker]

Thanks! I’m on it and should be able to report in a few hours.

[Rafael Amador]

Absolutely agreement with David.
Go to a better codec.
rafael

http://www.nagavideo.com

[Anthony Koelker]

In FCP, I changed the sequence settings by loading the preset for DVCPRO50 and re-rendering the sequence. Then, I exported about 90 seconds using Compressor and burned it to a DVD using DVD Studio Pro. I’m still seeing interlace or ragged edges on most everything playing it back from DVD on an NTSC monitor. Of course, in FCP on my Mac display, it all looks great.

Two questions for you generous folks: As I’ve got footage ranging from mini DV to HDV to DVCAM to XDCAM in this sequence, should I use something like FieldsKit Deinterlacer to go in and correct each shot? And, if so, is there a way to know for certain what I’m doing without taking it all the way through burning a DVD that I can watch on a standard DVD player. I do not have a breakout box to monitor NTSC from my Mac.

Thanks so much for the advice.

[Anthony Koelker]

In FCP, I changed the sequence settings by loading the preset for DVCPRO50 and re-rendering the sequence. Then, I exported about 90 seconds using Compressor and burned it to a DVD using DVD Studio Pro. I’m still seeing interlace or ragged edges on most everything playing it back from DVD on an NTSC monitor. Of course, in FCP on my Mac display, it all looks great.

Two questions for you generous folks: As I’ve got footage ranging from mini DV to HDV to DVCAM to XDCAM in this sequence, should I use something like FieldsKit Deinterlacer to go in and correct each shot? And, if so, is there a way to know for certain what I’m doing without taking it all the way through burning a DVD that I can watch on a standard DVD player. I do not have a breakout box to monitor NTSC from my Mac.

Thanks so much for the advice.

[David Roth weiss]

Anthony,

First, I told you to change the compressor in Sequence>>Settings. It’s possible that changing the preset it did the same thing, but frankly I’m running off to a shoot now and don’t have time to contemplate that at the moment.

Without a true video monitor (not a computer display that is) you can’t properly see the interlace, that’s why people have I/O cards such as Kona. Without one, you have to create a DVD to see the interlace on a TV. There are ways to Gerry-rig through a camera however, so search Shane Ross’ stuff and you’ll find that…

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.