Ben Holmes
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Scatch my response – and thanks for the useful info Walter, this will definitely be used for our next batch of translations…
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A quick trawl of teh intertubes drags this up – it’s free too:
https://www.qtsync.com/qtsync.php
See if that gives you a workaround – you cannot export clip timecode with a QT export in FCP…
Ben
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Although I have not had the pleasure of Encore in 12 months (I used the CS3 version and have not touched my CS4 copy), I can tell you that it used to be a disaster for Blu-Ray authoring on the Mac. Although I was eventually able to complete a few fairly simple 2 menu disc, there were a large number of bugs in the Mac release, such that menus did not link properly, buttons ‘disappeared’, switching outputs from DVD to Blu-Ray (as Adobe widely advertised) was fraught with project settings issues and so on. Builds were hit and miss. Reliability awful.
I could be charitable and assume that some of these issues have been resolved – although until Blu-Ray is officially supported by Apple, I fear it will not be a priority for Adobe. I may never know, since unless I have to, I plan to NEVER use Encore again.
IF it worked as advertised, Encore (although not as elegant a solution as DVDSP) would be a fully featured and fairly simple to operate Blu-Ray authoring tool that (unlike Toast) is capable of producing custom designed and fully featured Blu-Ray releases. Comparing the two products is like comparing quick time player to FCP – one is a simple output tool, the other an authoring solution.
In my experience, Toast works fine for burning Blu-Rays of QTs – and for burning ISOs made in Encore. I never had one failed BD-R copy.
Tragic as it may be – Encore is still the only ‘home studio’ priced solution for the Mac. What I will say is that if you keep the disks simple, and create an ISO you can burn in Toast, you WILL have a very clean and high quality Blu-Ray at the end of it – it’s a remarkably good quality delivery format, providing a ‘client-friendly’ HD output for those occasions when ‘open QT player’ is just too complex an instruction.
Ben
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[James Herbert] “I’m shooting on a Sony EX1, 1940×1080 as much as possible (the EX1 does slow mo at 720P) and Canon D5 1940×1080… “
I assume you mean 1920×1080 – also Canon 5DII? Do you mean 640×480 for the VJ software too? The size you describe is non-standard even for computer software.
[James Herbert] “As the images are going to be blown up big (the actual projection size will vary from gig to gig) I’d like to give them the best quality/crispest shots as possible… Is there a better way to do this? “
Use software and projection that supports a better resolution – or accept that 640×480 will look poor on anything bigger than a 14″ TV.
Exporting quicktimes at best quality (h.264) using the size presets (or a custom size) within FCP will yield very good results if the original footage is good quality. Given the down-rezzing, you will not gain anything by using Compressor or Squeeze IMHO.
Ben
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Not as far as I know – and there’s nothing in the manual that suggests you can. Of course, you can record keyframes for one clip and paste them to another channel using paste attributes in the timeline – although this would not help you if you wanted to maintain a constant offset, which I guess is your intention here.
If this kind of multi-track audio editing is important to you, I think you have two options: take the audio into Soundtrack Pro or get a control surface. On the usual editing basis of effects on one track, voice on another and stereo music on 3&4 I’d struggle to see where this would become an issue in FCP for me personally – perhaps you can alter your track layout to avoid the issue? For more complicated mixes, FCP is not the best tool – Logic or even Soundtrack Pro are much more capable.
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[gary adcock] “yes there is some loss, but for many users comfortable with DVCPROHD workflows, LT is more than enough (they are close enough to the same bit rate) for their needs. “
Thanks – good to know. There may come a time when LT fits the bill.[gary adcock] “I know of a major cable channel that is using ProRes Proxy for all of their on-air content. “
Why does that not suprise me? I’m in the middle of a mass of edits for an international sporting body – I think the edits go to around 120 broadcasters. When we discussed audio track layouts for the masters (with clean fx/voice on tracks 3 and 4) someone pointed out that many of them take delivery in DV, so only two tracks of audio are available. Oops.
I also used to love getting U-matic tapes from the US. I guess some stations still use them…
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Not tried this – but have you tried calling the clip up in the timeline and making it a subclip? You’ll probably have to drop it back into the timeline from the browser.
See if that helps – otherwise it’s an export…
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When I’m asked how to encode HD video for the web – simple answer (barring the flash issue Walter mentions): Use the Apple TV setting in export options. This makes lovely 720p h.264 ideal for embedding or uploading to sites like Vimeo, and it’s pretty quick from FCP (say 5-6 mins for a 2 minute edit in 1080i). If I’m sending it, not uploading it, I change the file extension from .m4v to .mov so it won’t try to install itself in iTunes…
Just thought I’d share a tip.
Ben
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Agreed on the HP. The AVID recommendation is one of the reasons Pro Resellers tend to favour these, but I think it’s down to the more consistent colour reproduction. Certainly, the Dells can be great, and I recommend them for value, but…
You can have my 3 non-glossy calibrated 23″ DVI Apple Cinema displays when you can prise them out of my cold dead hands however….
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And yet again on the cow, if I’d read Gary’s response about LT below I’d see there was a quality loss. I think I’ll stick to a G-Raid and standard ProRes for 1080i work…
Still love 444 though.
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