Andrew Rendell
Forum Replies Created
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I downloaded the Sony software from their Canadian site without having to register.
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[Andrew Rice] ” Switching to the AVID would have a bigger learning curve…”
I came to FCP from being a long time Avid user and the learning curve wasn’t a massive deal, so I wouldn’t expect it to be very hard going the other way. It’s not as different as you’d think.
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If it’s only 24fps, that’s right. UK is 25fps.
On the other hand, check the small print as some are actually switchable so 25fps might be an option you can select if you go into the menus.
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In law you automatically have copyright in your work, but you should use the (c) symbol and put your conditions somewhere (otherwise it would be hard to take legal action to defend it). Creative Commons offers an alternative path to the strictly legal position, which may or may not be appropriate for you.
Music has to be licensed for each territory that you make it available in – check out the BMI website for information https://www.bmi.com/licensing/website/
[I don’t know your location – the BMI is the main US organisation. It would be the PRS in the UK, SACEM in France, GEMA in Germany, etc.]
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IMO you get better results if you export a quicktime in current settings then convert that to something more suitable with Compressor. Having said that, severe pixellating suggests that it might be something other than your export settings… can you post more info on your source codec(s) and sequence settings?
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It should have a Firewire 800 port – FW800 is backwards compatible with FW400, all you need is a 9 pin to 6 pin cable.
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By the way, the PPM scale is behind newbies taking delight in the witticism that the BBC’s motto is “Nation Shall Peak Six Unto Nation” (like sex, every generation thinks that they invented it!). But then, very bad rhymes, puns and sarcasm have a long and revered history over here.
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0 PPM makes no sense to me.
In Europe we use PPMs to measure our audio levels for broadcast (no other measure will do, which is a bit annoying as they can be quite expensive). Just in case anyone’s looking in who doesn’t know, a PPM is a meter with a very fast rise time, so that it follows the peaks, and a slow fall time, so that you can tell what the peak was after it’s passed. It’s not very helpful for judging apparent loudness but that’s not what it’s for (the holes in the sides of your head are the best things for that).
For the UK, line up level (our standard “zero” level) is a sine wave at -18dbfs and is displayed as 4 on the PPM scale. You MUST NOT exceed PPM 6, which is 8 dB above line up level.
Personally, I use this one: https://products.zplane.de/index.php?page=ppmulator
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+1 (to Chris)
Older 4:3 CRTs may not not even recognize the anamorphic flag, so either it would be a manual switch or you’d need a letterboxed version for it to show it right. -
To be honest, unless you have a thorough knowledge of what a broadcasting station is going to assess and have the test gear to inspect those things properly, you’re paddling up sh*t creek…
If you turn up the brightness levels on FCP’s scopes (or preferably Color’s scopes as they’re better IMO) you can make a fair stab at the levels on a shot by shot basis, then apply a broadcast safe filter to clip off what you can’t see, you can get a long way along the path to TV safety. Have a good look at what’s on Tektronix’s site (it’s actually very good) and check out a few others as well (Quantel also used to have some good info on it, but I haven’t checked it for a while) – you need to know about black & white levels, saturation, gamut, blanking and PSE.
[Einstein was a clever man, but he never had his work fail a technical review by a pedantic broadcast engineer.]