Aaron Neitz
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After Effects Coin
Forum Replies Created
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It would be Adobe’s chance to shine. Or maybe Avid to stage a comeback.
The only reason we left Avid was FCP provided a functional product at a fraction of the cost. If Avid had been more nimble we would have never left.
However would be a bit of a bummer if it turns out true.
Let’s hope we don’t have to start migrating back to Windows to run our software 🙂
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Excuse me for misreading.
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I believe Log and Transfer can now convert h264 into ProRes. Haven’t used it though.
You could use Compressor to batch convert everything. Or even exporting from the QT player 1 at a time.
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Sounds to me like your trying to edit with h264 files. from a 5d perhaps?
1st rule of Edit Club: always transcode your footage to something better. Like ProRes.
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Progressive Segmented Frame. Machine splits the image into 2 fields to transport it. Monitor or computer on the receiving end recognizes the 2 fields and reassembles the imagine as truly progressive before displaying it. Was designed to help alleviate the bandwidth/timing problems of 1080p – I believe it also facilitates conversion to other formats much simpler?
Anyhow, rule of thumb is always use Psf. It’s still progressive in your computer, no worries.
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Not that this helps: But have you seen the new Panasonic TV’s with that Super-Crisp-Motion-Plus-Something-Something.
Whatever it is doing to the picture, a 24p DVD will look exactly like it was shot on HD video. Like a soap opera.
It’s the most saddening thing I’ve ever seen….
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Plug some headphones directly into the Mac and listen. Perhaps there’s a problem in your audio hardware?
Are you getting this in itunes,etc?
what happens if you export a QT and listen to that?
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I see. what happens if you just make a empty sequence that matches your footage and drop clips into that? FCP must be mistaking some metadata.
If I’m reading you correctly – you probably want these settings. It would also help to know what camera you’re shooting and in which mode.
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You’re in PAL I assume.
PAL 1080/25, even though it IS progressive, is treated by FCP and broadcast systems as interlaced, upper field dominant.