Alex Elkins
Forum Replies Created
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I’m going to take a guess and say that all your media is on a USB drive. If that’s the case then that’s your answer. You need to transfer everything onto a faster drive.
Slow drives are almost always the reason for dropped frames.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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[Philipp Hampl] “Premiere pro and the media Encoder can NOT handle more than one Mono Audio Track!”
It’s things like this that make me glad we’ve switched to Avid here! I’m sure Adobe will fix it, but to me it just indicates a lack of understanding that Adobe seem to have when it comes to editing. They’re trying hard but they just don’t quite get it.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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[Philipp Hampl] “the best way would be, if you could tell for example sony’s transfer tool to not just wrapp it but also transcode it.”
I doubt Sony would ever do something like this – they want you to edit in Sony Vegas, so the harder it is to get their media into ProRes, the better it is for Sony. I agree though, it’d be a useful application if someone would make it. I don’t think anything like it exists at the moment though.
One thought: Premiere will read XDCAM EX natively (not sure about XDCAM HD 422 but I assume it does read those natively too) – with CUDA acceleration might Premiere transcode the native files to ProRes more quickly than the two-step process of re-wrapping in FCP/XDCAM Transfer then transcoding with Compressor?
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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I don’t have a problem with the de-interlace filter, but if you notice any issues you can de-interlace in much higher quality using Compressor. As your end product is DVD I doubt any quality loss from using the de-interlace filter will be noticeable.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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Hi Craig
I’ve just responded to your original post from a while ago but it sounds like this one is related?
As you have interlaced material in your timeline, your sequence settings need to be set to interlaced as well, or you could remain in a progressive sequence and add a de-interlace filter to all of your interlaced material. Setting the sequence to interlaced (i.e. Field Dominance: Upper) will not affect the progressive XDCAM media.
If you make the sequence interlaced you will also need to add a Shift Fields filter to the DV material as its field dominance will be Lower.If you do decide to work in an interlaced sequence, you might want to then de-interlace using Compressor when you create the files for the DVD to avoid any issues with your clients viewing on computer screens. The best way to do this would be by changing settings in the Frame Controls tab.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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Was the original XDCAM material definitely progressive?
Do the ProRes LT clips look progressive when you play them in QuickTime?
If so, then something else seems to have gone wrong. When you say it looks good on a tv, how are you viewing it? From a DVD, direct from FCP via an i/o card, or something else?
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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[andrew smith] “what advice on settings and how to can you provide”
I’d start with the presets and tweak from there. There’s not a right or wrong way to do it, just whatever works for what you’re trying to achieve.
If you want some inspiration I’d recommend looking at some music video websites (e.g. https://www.promonews.tv) – music videos can be a great source of inspiration for digital grading as they’re often heavily stylised and more often than not are shot digitally, so many of them have had grain added in post. See what kind of looks might suit your project and try to emulate it.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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[andrew smith] “I was hoping to take away from this whether or not my AE settings for grain were correct and then my application of it in other apps”
See my previous post. The way you’re adding grain is flawed – you’re not adding grain if all you’re doing is overlaying an animation of some noise on top of your video. If you don’t want to bring the completed video into After Effects to add grain there, I’d suggest simply adding a monochrome ‘Add Noise’ filter to it in FCP. This is essentially what you’re doing anyway by compositing a noise layer on top of the video, only you’ll have more control and slightly better results with the FCP filter.
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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[andrew smith] ” I already know this.”
So what do you want to know???
Alex Elkins
Twitter: @postbluetv
http://www.postblue.tv
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This is a bit of a strange way to add grain in my opinion. This should have been done during the grade. Failing that, I’d recommend bringing the entire film into After Effects and adding a grain filter to it.
It’ll take a very long time to render from After Effects but you’ll have more control and the results will be much better. I would consider the method of overlaying the grain in FCP a bit of a ‘bodge’ as essentially all you’re doing is adding some animated noise onto the image. That’s not really the same as grain.
Alex Elkins
Twitter: @postbluetv
http://www.PostBlue.tv
View Post Blue showreel
Shot on RED @ 100fps, Post on FCP/Color: Capoeira Film
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