Ben Holmes
Forum Replies Created
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If you shot anamorphic (and it sounds like you captured anamorphic) you should edit in an anamorphic sequence. As your monitor does not have a 16:9 button by the sound of it, what you view externally will be the wrong shape. This is fine.
If your client has requested an anamorphic master, it is then up to them to to have a 16:9 display to view it properly. If they wish to display it on a 4:3 display, you would need to deliver a letterboxed 4:3 version. You could do this by dropping your finished output into a 4:3 sequence, where it would be automatically letterboxed.
You seem unclear what FCP actually does when you select an anamorphic sequence. All it is doing is resizing the canvas so as to simulate a 16:9 display. Anamorphic footage actually IS 4:3 natively, it has to be stretched (hence the name) by the display device you are viewing it on to be viewed correctly.
You need to ask your client if they require 16:9 FHA (full height anamorphic) or 4:3 letterboxed for final output. And since the PD150 was in an anamorphic mode, NO there is nothing you can do in post to improve the picture quality.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
Tremendous. Have a cigar.
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
Blimey.
In the time it took me to write that, you got about 4 answers. This forum is competitive.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
[cheryl201] “Is it possible to lay timecode without rendering?”
No.
Use the timecode generator filter. If you export the timeline as a clip, reimport and lay this clip into a new timeline, and apply just this single filter, it will speed things up a lot. You could even export the timeline in DV format (depending on what it is already) although the quicker TC render will be offset by an export time.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
In general term, more RAM will help you run multiple applications better. Personally, 13Gb sounds like overkill for what you describe, but you may see less slowdown under certain circumstances. I believe FCP only manages to use 2Gb (or is it 3Gb now?). It wasn’t long ago that 8Gb was a HUGE amount of RAM, so perhaps it all just sounds like overkill to the older hands…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
Have you tried encoding using the 2-Pass Variable bit rate? This should analyse the video and check for these kind of ‘tricky’ encoding moments.
However, I suspect you’ll still struggle. MPEG2 does indeed hate noise, as do many other long-gop formats, and even MJPEG. If this is so important to your project, and DVD is the final output format, you may have consider a way around this. A different transition could help (via black?) or you could try lowering the video levels. Sometimes this helps compression if the differences between light and dark areas in lowered.
Professional DVD transfers require many passes and often frame by frame analysis to avoid problems like this – compressor is a bit of a blunt instrument in comparison. You could always try another product, like Media Cleaner – but I cannot speak from any experience if this will help.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
[Sam Roberts] “What about FCP? Would you not need to change it or upgrade it in a major way (or any other NLE software/hardware combo you may be using) every 5 years or so? Or at least spend a few thousand on hardware and software updates? “
Undoubtedly. Although the costs will be a lot lower than the Velocity route. This means 1) You will be able to upgrade more regularly to take advantage of hardware improvements and 2) You can more easily add seats as required – or lose them in quiet times.
[Sam Roberts] “You can’t just buy a system and that’s it for say, 20 years.”
True.
[Sam Roberts] “I feel like it’s me and a few Velocity buddies sitting around the house on a Saturday night wringing our hands and talking seriously about the future. Where as next door my Final Cut Pro neighbours are having this huge party with loud music and loud talking and laughter is making it difficult for us Velocity nerds to hear each other. We keep looking longingly over to your side of the fence wondering what if…….
“You know, it’s worse than that. The party is going to get louder and longer. Your friends will all gradually leave. Look, I like Velocity a lot as a product, but recently we supplied FCP systems to a company that OWNED velocity for a job abroad. Why? They only had a couple of operators – and they weren’t available. We picked up a lot of hire, and the ops were a two minute phone call away. Also, don’t ask yourself if you want a velocity or a FCP suite – ask yourself if you want a Velocity or 3 FCP suites. Ultimately the lower cost and CRUCIALLY availability of operators will swing this. In the end, all NLE’s are just tools – it’s where the talent goes that counts. Oh, and the cost.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
[Sam Roberts] “What about FCP? Would you not need to change it or upgrade it in a major way (or any other NLE software/hardware combo you may be using) every 5 years or so? Or at least spend a few thousand on hardware and software updates? “
Undoubtedly. Although the costs will be a lot lower than the Velocity route. This means 1) You will be able to upgrade more regularly to take advantage of hardware improvements and 2) You can more easily add seats as required – or lose them in quiet times.
[Sam Roberts] “You can’t just buy a system and that’s it for say, 20 years.”
True.
[Sam Roberts] “I feel like it’s me and a few Velocity buddies sitting around the house on a Saturday night wringing our hands and talking seriously about the future. Where as next door my Final Cut Pro neighbours are having this huge party with loud music and loud talking and laughter is making it difficult for us Velocity nerds to hear each other. We keep looking longingly over to your side of the fence wondering what if…….
“You know, it’s worse than that. The party is going to get louder and longer. Your friends will all gradually leave. Look, I like Velocity a lot as a product, but recently we supplied FCP systems to a company that OWNED velocity for a job abroad. Why? They only had a couple of operators – and they weren’t available. We picked up a lot of hire, and the ops were a two minute phone call away. Also, don’t ask yourself if you want a velocity or a FCP suite – ask yourself if you want a Velocity or 3 FCP suites. Ultimately the lower cost and CRUCIALLY availability of operators will swing this. In the end, all NLE’s are just tools – it’s where the talent goes that counts. Oh, and the cost.
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
Sam
You will spend more time rendering – I know how much real time (rather than proxy) you get on Velocity. But as far as the future goes, I don’t see that you have a lot of choice…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html -
[David Roth Weiss] “there is a reason viewers are called the audience, not the vidience.””
Absolutely. I used to QC movies for a broadcaster, and we were always taught that many more people complain about audio than video. Making audio levels consistent, maintaining a tight dynamic range and getting a good balance between different elements (music, speech, fx) should be top of your list when finishing a project. I have a harder time getting things past the audio supervisors I work with than the video guys – and given the audience’s views, that’s how it should be.
Although peak levels (and I forgot to mention dbfs, apologies) are higher for the web, people are still listening via similar means. The low levels cause just as much problems as the high ones…
Ben
Editec Broadcast Editing Ltd
EVS & FCP specialists for live broadcast.
OB Server 1 HD – Mobile FCP editing done right.
https://www.editecuk.com/OBServer2.html