[Ben Scott]

use the media manager

thats what is does

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Check my site at
https://www.benscottarts.co.uk/ – – – – – – – – –

[Ben Scott]

I know how to assign but was wondering why the defaults set to -3 and paired?
This is for the 5.1 audio outputs in fcp

Does this take into consideration how it was mixed and those levels

Blitz tone is like 6 channel step tone a type of pulse tone for line up

[Ben Scott]

this is not strictly true

the Kona 3 downconvert will work ok for some jobs but not others

I find it aliases the graphics if they start off sharp, bright and saturated in HD
Also this can cause broadcast safe specs to not be respected on output, due to out of range transients on these anti aliased graphics

Other problem of course is the one frame delay on audio and trying to slip audio on timeline to conspensate so that the downconvert is in sync and accurate on edit to tape, this makes for very tricky inserts which sometimes are easier to just drop in an SD timeline and render up. throw in different timecodes in HD from SD and it can get pretty confusing unless there is the same workflow every time.

plus of course the fact that HD titles that have small text sizes wont work at all in SD sequences

Best solution is often to upconvert SD tape feeds using the kona 3 card to HD, check for picture blanking and audio sync going out. drop that in HD sequence with HD content, render up and play out to HD tape, then use downconvert on HD deck to make SD Dupes, much simpler process

– – – – – – – – –
Check my site at
https://www.benscottarts.co.uk/ – – – – – – – – –

[Ben Scott]

I think the book which apple has for accredited classes is excellent

the new book is very good for starting out and the previous motion3 book is great for a nice explantion of 3d compositing

i did a podcast on motion in the creativecow final cut pro podcast, see if thats useful

[Ben Scott]

I have been experiencing the canon 5de and the worst it has to throw up for post workflows

it seems to be the tool that people that know very little about video signals and FCP media management are going to and then have others pick up the pieces as best they can when they didnt listen at the beginning

both projects we received had the wrong frame rate, one was edited in h264

the only one that came out ok was the 7d content and the person working on that had many headaches to give it to my work in a good state

the new log and transfer and the 5d supporting proper frame rates is a bonus

dealing with motion artifacts that an alchemist cant deal with shows that the camera isnt for proper video production day in day out, it has a lot of motion compression that comes up later as problems

other thing I noticed was the low light shots had stripes through them, didnt like being lifted at all (loads of nasty noise), there is aliasing as the camera over sharpens, cant deal with fast movement at all, its jerky as hell

dont get me wrong the images look great if you want a punchy image, its just a bloody nightmare in post and as it is cheap people will run to it and then keep handing over their mess in post. I would be surprised if these folks are even going to retain the folder structure to get the log and transfer to work properly.

as this is a final cut pro forum I think it is worth mentioning that this camera can be the right thing but it aint great within a post production workflow, best to keep the focus on the right forum if you know what I mean and address how the tool works with final cut pro if thats were messages are posted

[Ben Scott]

thanks

realise the post was a bit of a big note and a bit difficult to understand maybe, just thought it good to share what was tricky with others

plus its good to write things down when theres all those steps

nice tool though this new credit roll tool never seen any software that does it that well

[Ben Scott]

try this
https://provideocoalition.com/index.php/cmg_blogs/story/after_effects_prores_and_gamma_shifts/

[Ben Scott]

you can get ppmulator to work with FCP if you set it up with audio hijack and soundflower
PPM should have dialogue at a minimum of 4ppm and max should never go over 6ppm where 4ppm represents -18db and 4ppm is 8db higher

you will need to check the goniometer in soundtrack pro as well to check for Phase cancellation

for color correction I am sure walters article is good on this bit and how to apply the broadcast safe filter

make sure all titles are protected for 14.9 in UK

where in doubt about PSI e.g. red image and constant flashing images with different luma values bring down saturation and contrast and maybe even add motion blur

main rule
Always check picture and audio on broadcast quality kit e.g. if SD output be viewing on graded CRT and proper monitor speakers in a some sort of a controlled environment audio and ambient lighting

[Ben Scott]

Haven’t tried it out but if there is a solution I have to say thank you forum (that’s why to check back we help each other)

XML seems to solve a lot

[Ben Scott]

surely you could do the trick of using clip enable to turn off sections of the timeline instead of in/out points

FCP will not export OMF of clips which are not enabled

I think the all track selection tool could come in handy here

I had the same issue with 2gb file limit when exporting 24bit clips

also interested how the omf would deal with a sequence set to 16bit when clips are captured from sound devices kit at 24bit, also does the metadata get passed at all to OMF e.g. BWAV timecode and reel number?

suppose that is another thing left to check before exporting out to OMF, getting the sequence set to the correct bit depth as well as the OMF export setting

whats annoying is that the import into soundtrack pro of OMF is not at all useful for checking it has worked, soundtrack doesnt seem to read the timecode of the sequence and takes ages if at all to actually import, omf export from soundtrack isnt worth it at all though (its broken)