Andrew Wilson
Forum Replies Created
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Hi Andrew Wilson, I\’m Andrew Wilson. Nice to meet you. Anyway… I\’ve been in this position before too and you probably can count on getting material in all sorts of formats since not everyone can export prores. I would ask for it but Animation is also a good lossless codec. A lot of broadcasters just love their mpeg2 and h.264 but those are lousy editing formats.
I would drop everything you get into compressor and convert it to prores422 and edit that in a prores422 timeline. Then export your QuickTime in their format of choice. You might then drop that master sequence into a dvcam sequence, render and lay off to tape.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
Another thing to try to resetting the SMC. Unplug the power cord from the back of the mac. Hold down the power button for 5 seconds. Plug it back in and then boot up.
https://support.apple.com/kb/HT3964best of luck.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
Under the apple menu, select About This Mac. Click More Info. Under the hardware area, click memory and make sure the status of all your RAM says OK.
If you’ve had ram go bad, some vendors (like OWC) have a lifetime guarantee. You’ll have to send back both DIMMs though so they can replace it with a matched pair.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
[Andy Neil] “Also, the Best rendering setting is what’s causing the extraordinary render time. Normal setting is fine for almost all renders, the exceptions being what Mark stated above. I’d always render Normal to begin with and only switch to Best if I had to for quality.”
I’ve updated the video at that link. This time it was set to normal and took like 6 minutes to render. I was able to fix some chunky text issues I had by moving the text farther away from the camera and making the point size bigger.
Is there a ‘continually rasterize’ button in Motion that’s similar to AfterEffects? I think that would have solved my chunky text issue without me having to move them around in space or doing a best render.
Thanks to all for your input!
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
Another quick shortcut that I sometimes use is to use the SAVE FOR WEB command under file menu and save a 24 bit Png file. It’s a compressed file format but looks really good and preserves the alpha channel.
Still, though, the PSD file should have been fine and isn’t compressed.
Make sure you have the photoshop transparency checkerboard visible when you select save for web.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
The video card is the ATI 1900 X or XT…. Can’t remember which one actually came with the computer. It was the upgraded card at the time.
It’s rendered at best quality. The interlacing thing has me scratching my head a little. The Sequence is set to ProRes422 no field dominance and the clip properties have no field dominance. BUT I just checked my Motion Export settings and see that I checked field rendering on. Not quite sure why I did that. But wouldn’t it import into FCP with a dominant field by default? Would you suggest turning off field rendering in the export settings?
I’ve gotten in the habit of doing all my stuff progressive even though a good chunk of it goes to cable for broadcast.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
How are you making the mask? I just opened a PSD file and made a mask with a standard layer mask. Saved it as a PSD and brought it into Motion. The mask was there.
Select the layer and hit Shift-F to open the Media tab in the Inspector. Make sure Alpha Type isn’t set to IGNORE. If it is, try selecting Guess Alpha Type.
Saving as a TIFF did not work for me. The mask came in as white.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
No you can’t jam sync the time codes but you should check out PluralEyes.
It is a fcp plug in that uses the audio track of multiple clips and syncS for you. It’s amazing.
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
The funny thing is that I feel like I’ve found a great reason to use L&T to bring in my XDCAM EX footage – the ability to Batch re-capture – but a lot of people seem to not like L&T.
I’m planning on changing my workflow to ingesting with L&T so I’m wondering what problems or drawbacks you’ve found – specifically with XDCAM EX.
It’s not transcoding the clips so it’s essentially the same file as rewrapping with XDCAM Transfer… so what’s wrong with L&T?
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com -
Using Sony’s Transfer Application was always my workflow in the past. I always got reel names (which were the same as the name I gave my card)
BUT – it seems like if you use L&T, only then does FCP allow you to batch capture clips after they have gone off-line.
However, you said that you don’t stock your BPAV folders… What do you use for backup?
Andrew Wilson
WestView Digital Video & Design
http://www.westviewdigital.com