Aaron Neitz
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After Effects Coin
Forum Replies Created
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Had the same problem when one of the fibre controllers was being pesky and I couldn’t power down. Instead of pulling the plug, I hit the off switch on the APC, let it sit a couple minutes, and powered up. No problems. But make ABSOLUTELY sure no one is trying to read or write from it before you do.
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in the motion tab, open the Distort settings… my initial guess is +33 on the aspect ratio should do what you’re looking for,
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Yeah – this is a ProTools sort of thing… but then only mixers who have the license or something…Gotta go to a mix stage that specializes in feature film. It’s like OMF – FCP can make one, but it sure can read one.
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This is what they’re asking for: Dolby is striking a Dolby Digital track for print:
I found tools that convert the TC stamp for FCP, but I need to go in the reverse direction – aiff to BWF
————Broadcast Wave files (Consolidated/Flattened, see below)
*Consolidated/Flattened: Individual Bwav files with matching lengths for each channel (Example: one Bwav file for Left, one Bwav file for Right, one Bwav file for Center ect.) These files are to be completely mixed final sound requiring no additional processing, plugins, fades, or level adjustments.
16 or 24 bit depth
48K Sampling rate
-20dbfs Reference level.
Time code frame rate matching the sound speed. (Example: NTSC 29.97fps Df/NDF, PAL 25fps, Film 24fps)
Delivered on a DVD-R, DLT, LTO, M.O. Disk or Hard Drive. -
Not particularly…. Ani+alpha is slow to render… you can adjust settings in FCP for rough-renders to make sure it’s looking OK – like Fast/Liner motion rendering, 75% resoltion, and 50% timebase. And then render overnight for high res…
short of buying a faster computer there’s not much you can do.
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I wouldn’t waste render time with the plugin – It’s good – but you don’t need it for a mix.
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Yup – Just copy/paste into a 29.97 sequence and export a self-contained QT. It will simply repeat frames to make up the difference, and will look fine running in realtime. The aiff he gives you back goes straight into the 23.98 sequence and locks up fine. 23.98 and 29.97 are analogues of one another.
D5 records true 23.98 fps in HD mode. But in SD mode it’s just like a Digibeta – 29.97 only. But if they’re airing in SD, why do they want a D5? I’d ask the network because they’ll have standards for TRT ndf/df etc… There should be a paper that lays it out so us editors can get it all formatted properly.
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Are they recording to tape with the DV mode or DVCAM mode? I know on our DSR-1500 you can select either (not sure what the difference is, except DVCAM you can edit-to-tape with and would assume is more reliable than plain DV.)
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Because the DVCPRO-HD codec cheats the frame size to get the bitrate down. So it really records 960 pixels and tells QT to stretch it out to 1280…. like pseudo anamorphic
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Nope. You correct it…. it looks OK and it totally shifts when you render it. At least in HD.