Arnie Schlissel
Forum Replies Created
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1024×576 is not a video size. There is no tape format and no broadcaster that will accept it.
If you’re trying to make a widescreen SD in PAL, that size would be 720×576. Look up “aspect ratio” in your FCP manual, it will explain how the pixels become stretched to make an anamorphic widescreen image using the same number of pixels as 4×3.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Motion already has a decent set of masking tools. Maybe not as good as Shake or Silhouette, but certainly as good as After Effects.
Rotoscoping is very detail oriented and using and keyframing the masks in Motion (or any other app, for that matter) is somewhat complicated. I’d recommend you look up how the masks work in the Motion manual, and maybe do a google search for a light saber tutorial- light sabers are the classic roto tutorial.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
Most likely is that your drive system is too slow. This is a common problem. Do a search in the FCP forum for more information.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
An aluminum tree? That’s not tacky, it’s high-tech!
Have you ever thought of replacing the color wheel with a disco ball?
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You can use the time code generator filter to do this. Set the generator to start with the same TC number that the audio starts with, at the same rate, etc.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
You’re dropping frames. Typically this is an issue with your storage not keeping up with the data stream from the capture. What format are you trying to capture to from the telecine? What speed is your RAID testing out at?
I’m not a fan of eSATA RAID arrays, the host cards don’t always deliver very good sustained speeds. You should look into using a SAS controller from ATTO or Areca with a compatible RAID. The vendors that advertise drive arrays here on the COW all make better arrays than your typical eSATA.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Mohamed Kamel] “So after testing what works as expected is when i interpert my 720/576 10 bit 422 which was originally shot with 35 mm, as progressive scan as well as outputting it with no fields…unless any other suggestions are out there.”
That’s correct. you should render from AE, Motion, etc. as progressive. In FCP make sure the field dominance is set to “None”. When you lay off to tape, your sequence’s field dominance should still be set to none, but your output settings on your Decklink or Kona card should be set to upper field first.
Welcome to the insane world of broadcast/film engineering. Do not try to understand the logic, for there is none. It’s a series of compromises, accommodations, quick fixes etched in stone and oddball legacies posing as a body of standards. God help us all!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[David Roth Weiss] “A most excellent explanation Arnie, and I’m giving you a big unofficial award for excellent clarity.”
Suitable for framing! Too bad it doesn’t have Auggie’s picture on it, though!
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Mohamed Kamel] “1) Footage shot on 35mm then telecined for video on a digibetacam, i always digitize as PAL 10bit uncompressed, in compositing stage i do some tests in after effects and it always shows that the footage is progressive instead of upper fields. How is that possible?”
It’s both interlaced and progressive. Confused? That’s ok, you probably should be.
Film cannot be interlaced, digiBeta cannot be progressive. The progressive film frames are laid down on tape with fields. We call that PsF or Progressive segmented Frames. As Raphael says, you won’t see any movement between the upper and lower fields within a singe frame.
[Mohamed Kamel] “2) When exporting a movie in after effects or final cut pro as PAL uncompressed 10 bit, and then re-import.. the software automatically interprets as interlaced footage even if the sequence/comp settings were set to progressive prior exporting.”
Check your render settings in AE. It sounds like you may be rendering interlaced. If so, turn field rendering off.
[Mohamed Kamel] “Finally, can a codec actually produce scanlines in footage, if it is originally progressive? or is it just outputting to a certain amount of tapes that does that?”
You can introduce fields by rendering them or by playing out through a capture card. Either way can be done right or wrong and can look perfect or disastrous.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
[Michele Lombardo] “Hi everybody, what is the cheapest model of AJA to monitor on a SD CRT my FINAL CUT & COLOR projects (they are 1080 or 2K ProRes4444)???”
If you don’t have a proper monitor, you’re really not saving much money in the long run. I say this because you won’t be able to see all the fine details that you often need to see to find problems, nor are you viewing your color grading in the same color space that you’re actually working in.
You should consider renting a 1080 monitor for this job, or maybe you can rent a room that has the proper setup.
Arnie
Post production is not an afterthought!
https://www.arniepix.com/