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workflow – HD/SD – to Broadcast
Hi there, I’ve been reading and reading and reading, trying to figure this out on my own, but here I am, with a question.
I’m in FCP 7, macbook pro. I’ve got a half hour TV show I need to deliver tomorrow. Shot in HDV, edited mostly in HDV, need to deliver SD in a 4:3. I have several nested HDV sequences, set to upper fields. I have a few SD commercials that are sitting on my final timeline as well, done from other sources. Everything is 29.97 frame. I’m laying down these mixed formats into an NTSC DV 3:2, Upper fields, NTSC CCIR 601 720X480 ratio, compressor is the typical DV/DVCPRO NTSC. I read about this video processing tab, and switching it to Linear, I read about the DV50 option.
I need to print to tape, I have printed to tape, aspect ratio, ect is fine, but I’ve got anti aliasing in some movement, and esp with shots that contain Brick. I am without an I/O. I tried my Sony HDRFX1000 as a deck, set to DV, and used my little JVC cam as a Deck, both have given me this issue.
Should I try exporting out my SD timeline, with my upper fields, into DV Stream, and if so, do I pick the DV50, I guess I can do the DVCPRO choices, for I am without a deck, right? Ugh, my brain is getting fried. And then do I just bring it back into FCP, into an SD (lower field) timeline, and THEN print to tape? oh boy!
thanks for any help and goodnight! 🙂
Lisa
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2 Replies
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If I were you I would do the following:
1) go to Sequence>>Settings and change the compressor to ProRes. Then re-render.
2) export a self contained QT at current settings
3) use the ProRes file you just exported in Compressor to down res your file to ProRes 422 SD anamorphic, with Frame Controls turned on and scaling set to “better.”
4) use the SD ProRes file in a new timeline to print to DV tape.
This should create a vastly superior tape copy, with only one DV compression hit when going to tape, and with all aliasing and motion artifacts eliminated with the frame controls in Compressor when scaling.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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Everything as I said above, but forget the widescreen anamorphic part, because I see you need a 4×3 final.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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