Andrew Saliga
Forum Replies Created
-
The “standard” is that when you assume things about what a client can and can’t playback you get burned, haha.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
Are you playing directly from the disc or are you copying the file from the desk to a HDD to playback?
How heavily you can compress this video will depend on the content of the video and how much you are able to sacrifice. A talking head can be compressed more heavily than aerial shots of beaches. Low detail and motion vs. high detail and motion. Also, other H.264 encoders are more efficient than Apple’s implementation.
Not surprised playback stutters. H.264s are processor intensive to play. Only you or your client know what the final output specs need to be, but you can also reduce this to 1280×720 as another option to reduce file size.
The best answer is to experiment. Export smaller portions of the video to test quality. Once you’re satisfied run the preset on the whole video.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
Thanks guys.
I wasn’t able to get it to work when I needed it the most, but today when I casually try your suggested setup I have no problems. Curse of the output day I guess.
So to recap, footage was shot on film, transferred to ProRes422 HQ 1920x1080p at 23.98fps. FCP sequences were set to be the same as this source. I set my easy setup to 1080psf23.98 ProRes HQ. Adjusted my deck control to a 29.97 deck since I was running to Beta, and me secondary output in the Kona Control Panel was set to 525i29.97.
Also Bob, you’d proud to know that we bought the AJA black burst generator you preach about. 🙂
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
I have the Kona set to 2:3:23 I see. Is there something I’m missing? I have siganl from Kona to deck to monitor, but I can’t seem to get it right to run FCP through. (test signals from Kona control panel work)
Edit was shot film, was transferred to ProRes422HQ at 1920×1080, progressive and 23.98. Running it out to Beta.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
Sorry, was in rush mode. For some reason the ad agency told all local stations that the spots were ready before they were even approved.
Is there a specific pulldown I should select? 3:2:3:2?
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
It seems that FibreJet wasn’t rebuilding the database. I went into the Mac pref panel under the FiberJet settings and deleted the database. When I launch FJ, it rebuilt the database. All is well.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
I’ve searched around as well for an analysis tool.
Here is one that is Windows only. Very technical Russian site about all things compression. Some of the site has English translation available. I’d love to find a similar product for Mac.
Below is a link to the software they offer.
I’ve read Ben Waggoner’s first edition of that book. Looks like I need to get the second now. I’d also recommend Real World Video Compression by Andy Beach.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
Compressor actually isn’t removing the pulldown.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
Article on Ken Stone’s site says otherwise regarding broken cadence. Ideas anyone?
“NOTE: This will only work if the material has a consistent cadence (pattern) to the pulldown. If that pattern changes on edits, then there is little that can be done to “repair” the situation. The risk of broken cadence on edits is why all 24P source must be edited in a 23.98 Sequence, not a regular NTSC 29.97 fps Sequence. ”
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse -
I found a solution to part of this question. If the 3:2 cadence is broken, Compressor will detect and compensate. I can’t confirm about other compression apps.
-Andrew Saliga
Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse