[Alexander Kallas]

[Gunleik Groven] “The point is: Go un-/less- compressed for aqusition and editing, then you can finish to any format.”

Of course,
But it’s like saying, be Bill Gates, and you don’t have to compromise on equipment. I’d LOVE something like a Varicam,
but I’ll bet most of this forum uses DV. It’s all about the $$$$$…..

Cheers
Alexander

[Alexander Kallas]

[Simon Carlson-Thies] “in DV you should expect these problems, compression issues… thats why you should work in uncompressed or HD…”

But isn’t HD compressed as mpeg2 in the 4:2:0 colorspace?

Cheers
Alexander

[Alexander Kallas]

Hi Jeff,
It appears that FCP re-renders all frames in the 4:4:4 or 4:2:2 colorspace before handing off to Compressor, and avoids another transcode to dv before compresssion (compression on compression-not good)
This is why this route takes longer.
Definately the way to go, and NOT a waste of time!

Cheers
Alexander

[Alexander Kallas]

[mooblie] “I always re-export the audio from the NTSC timeline. Strictly it should be unnecessary (in that if the timeline duration is preserved, you could use the audio exported from the original PAL timeline). However, I’ve always found exporting the audio again avoids any sync problems. Are you doing this?”

Yes,
I’ve tried both of the above. The timeline length appears unaltered but it is out of sync.
Graeme actually mentions that FCP slightly alters the speed of the material, but does not mention a workaround.

Cheers
Alexander

[Alexander Kallas]

I think the Avid DV codec is different to the FCP DV codec.

Cheers
Alexander

[Alexander Kallas]

[Simon Carlson-Thies] “The issue becomes your using a very compressed codec (DV), and you are then compressing it more. The problem becomes that because programs don’t handle compression in the same way you end up with the type of problems that you have been dealing with.

best of luck

Simon Carlson-Thies”

Excuse me Simon,
but to which of the above posts is this a reply to?

Cheers
Alexander

[Alexander Kallas]

Thanks Don,
Hmmm,
Requires some thought.
The difference cannot be due to hardware used, as that was the same for both images.
What I can conclude is that unlike some, who say that both methods are identical, FCP DEFINATELY does it different.
It may render in 4:4:4 or 4:2:2 colorspace, which is different to the DV codec’s handling (4:1:1) and there-in lies the gamma difference.
This may be more or less noticable, depending on the codec and/or camera used.
I’ll try a test in the DV codec between the two methods and post.
However, for DV, encoding in Compressor via FCP, produces a cleaner sharper picture as one transcoding (to QuickTime’s codec) is avoided, and the gamma
factor, if problematic, can be adjusted with the gamma filter, after all, why is this filter there, if not for these situations.
My 2 cents……

Cheers
Alexander

[Alexander Kallas]

[Don Greening] “Interesting, don’t you think?”
Yes, very.
No link to that post?
I suspect this has to do with how/what the recorded material is, so this could/ could not be a problem.
However Compressor has a gamma control filter, although there is not much info in the Compressor manual.

Cheers
Alexander

[Alexander Kallas]

Hi Brent,
The problem with Compressor is the VBR, one pass or two, no-matter. With VBR choosing a data-rate higher than a modest 6-7mbs actually allows SPIKING to above the 10.2mbs limit, with all those subsequent problems.
Stay with one-pass!
Compressor actually has really good features (the filters, the avoidance of the DV codec when used straight out of FCP, etc) that Bitvice cannot do.
Use One Pass for material under 60 mins and you can go up to the max. (9mbs). You’ll be amazed at the results.

Cheers
Alexander

[Alexander Kallas]

Use Apple’s Motion

Cheers
Alexander