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problems recapture from photo jpeg
i captured in 4 hours-worth of SP Mini-DV video using Photo Jpeg compression in Final Cut HD. I edited my project in full. Then i recaptured my tapes in 720×480 DV-NTSC. (i did not recapture from the timeline, i recaptured from my browser where i keep all my raw footage.) i changed the sequence settings to match the capture settings for 720×480 NTSC video. there were no problems with the recaptured raw footage in the browser, but there were a lot of glitches on the timeline.
the majority of my problems occurred on clips i’d slowed down. halfway through these slow-mo clips, the the speed increased dramatically, all at once, for no reason at all.
i was able to fix the problem through time remap within the motion tab of each clip. (note: variable speed is not something i understand very well) somehow, in reconnecting the recaptured media, the velocity had drastically decreased in random sections of each clip, oftentimes when there were dissolves transitioning two clips together. in time remap i cleared any extra velocity keyframes, and evened out the velocity of each clip. this worked, but it took a long time, especially in sections where i’d used masks.
is there anything i can do to prevent this from happening in the future?
i noticed that photo-jpeg settings use square pixels, could that have something to do with it?josh
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3 Replies
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[joshua] “the majority of my problems occurred on clips i’d slowed down. halfway through these slow-mo clips, the the speed increased dramatically, all at once, for no reason at all.”
Sorry to report that slo-mo anomalies have been a problem (and complaint) with Off-line to On-line in FCP ever since Photo JPEG has been available.
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so basically don’t use photo-jpeg?
does anyone know a really solid way of compressing footage for an off-line edit? -
Photo JPEG works great for off-line (its the only way to off-line in FCP).
What does NOT work so well is the Slo-Mo. That was my point.
Just do your cuts and most standard effects in off-line but don’t spend much time working with the sol-mo in off-line.
THEN, after you recapture to ON-line quality, do the slo-mo effects.
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