Render bar red even though codecs are the same

[Michael Gissing]

How did you do the transcode from H264? Is it Log & Transfer?

What are your clip settings and sequence settings, specifically frame size, fields etc?

[D’arcy Maclean]

Hi, thank you for responding.

I used MPEG Streamclip

Clip settings and sequence settings are both:

Apple ProRes 422 (Proxy)
Frame size 1920×1080
Square pixels
Upper (Odd) field dominance
25 fps

Cheers,

D’Arcy

[Michael Gissing]

Depending on the source of the H264 files, they may be progressive. DSLR camera shoot progressive so although FCP thinks it is upper, it may be that the sequence setting should actually be progressive (or none in field setting).

Otherwise frame sizes are standard so I am surprised that you are getting render bars.

[D’arcy Maclean]

The footage did come from a DSLR, but I’ve tried changing the field dominance of the clip and sequence to none, but to no avail. I’ve also tried changing the clip to none, then cutting into a fresh sequence to have it prompt match sequence with clip settings, but again nothing.

Thanks anyhow,

D’Arcy

[D’arcy Maclean]

I think I may have solved it. In the export dialogue for MPEG Streamclip, there’s a box that says Interlaced Scaling, and above it it says ‘Deselect for progressive movies. Did a test and with said boxed unticked and it’s working. The odd thing though is for my rushes, all the footage from the first two days were giving me the render issue whereas the last two days were fine (just noticed that after your last response). I had batched transcoded them all together so don’t know why there was a discrepancy.

Regardless, unticking the box for the first two days rushes looks like it works so I can move forward.

Thanks for your time,

D’Arcy

[Michael Gissing]

Happy to help. I have struck the interlaced progressive thing before with DSLR footage. Personally I prefer to use Log & Transfer as it firstly gets this sort of thing right and most importantly it allows for an offline online workflow as it reads time data in the file and creates both a reel number and timecode so a Media Managed reingest at full res is possible.

If you have’nt already done so check Shane Ross’s two excellent tutorials on tapeless workflows and offline/online with L&T.

https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
https://library.creativecow.net/ross_shane/tapeless_online/1