[Andrew Saliga]

Great. Thanks so much Craig.

I’ll check into their reasoning tomorrow when business hours resume and post back. I doubt there is any specific reason.

Thanks for the links as well.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

I’m not sure what, if any, the difference is. A client has (for once) given very specific output instructions and have requested one output be encoded with WMV9 and WMA10. Can you even encode the video of the movie with v9 and the audio with v10?

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

DVDSP should do this automatically as Noah says. One tip I’d add is to make sure that there is a frame or two of black at the beginning of these tracks or the video itself. I’ve had the track start on a freeze frame of sorts while the DVD player switches to play at the correct aspect ratio.

For example, if creating a “play all” option, going from a 4:3 track to a 16:9 track may result in a a short lag where the 16:9 video is displayed at 4:3 before correcting.

Also note that 16:9 DVDs should letterbox on a 4:3 set and be full screen on a 16:9 set, but the major gotcha on this one is that this is a feature on most DVD players that must be activated via menu. Hopefully everyone realizes to enable this function on their DVD players, but I’ve realized most people don’t even notice when their TV images are distorted, know to adjust settings on their TVs, yet alone within the DVD player.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

Thanks everyone for your feedback.

Kevin, you nailed the problem. I should have known better, but have never seen this vertical “banding” in such a perfectly spaced pattern. I was starting to think it was an image sensor issue on the camera or something. So FCP just was having issues interpolating; setting canvas to 100% solved it.

For those who mentioned that a computer monitor is not the place to judge the quality of footage, yes, I realize that and said that I did check out to my monitor. I was more interested in the behavior of the footage in FCP rather than the apparent quality.

I do appreciate the discussion on codecs and would like to keep it going. Allow me to make sure that we understand what I meant by vertical banding as I feel I may not have been clear. The issue I was having wasn’t related to compression artifacts inherent in a codec. Nothing to do with poor compression of gradients.

Michael and Shane, thanks for the input on the ProRes HQ. Shane, thanks for the link. I’ll read up as soon as I finish this post. The reason ProRes HQ was chosen this time along was because I have 5.5 hours of footage. In a ProRes HQ workflow this would be 556.9GB while in a 10-bit Uncompressed workflow this would be 3TB. Not exactly practical in my opinion. I’m definitely open though to any suggestions regarding codec choice.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

Almost forgot to mention that this “banding” is not present on my broadcast monitor when I come out through my Kona.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

Turns out that Open GL is turned off. I did a test render and, of course, no issues at all this time around with no changes that I know of. Not sure what the problem was yesterday.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

Useful info again David. I didn’t realize that there were issues with AVIs and QT Pro. I just made some AVIs a few days ago for a client, but luckily I ran them through Compressor.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

Thanks David. I’m in the middle of a big render now, but will check to make sure Open GL is off as soon as it completes.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

That should be very useful with some clients. Thanks again Fernando.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse

[Andrew Saliga]

The WMV route works, if we don’t have the time to do the company branded page with video links that open with ShadowBox we’ll resort to just giving direct links to MOVs. A lot of times this is just what happens because other editors may not want the extra time it’d take to have me add a video to the HTML code.

We don’t use Premiere but we do you AE, so I’ll look into Clip Notes. I’ve never heard of or used it.

Thanks for the Dreamweaver tip as well.

-Andrew Saliga

Steelehouse Productions
http://www.steelehouse.com (undergoing a much-needed redesign)
http://www.vimeo.com/steelehouse