Bill Dewald
Forum Replies Created
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Is the anamorphic checkbox for your clip checked in the Browser?
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Glad you found something that helped.
When I suggested downconverting, I meant downconverting on ingest – that way your HD footage becomes SD footage _before_ it goes into the timeline. Makes FCP’s poor scaling a non-factor.
Thats how we do it at my current gig.
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[Christina Crawley] ”
1) Why?”FCP is notoriously bad at scaling. It just is.
[Christina Crawley] “2) Can I get those results in FCP some how (magical plug-in?)”
Since you’re ingesting HD-SDI, I’m assuming you have a capture card. Try downconverting on ingest, using the card.
Or, transcode your footage in Compressor.
[Christina Crawley] “3) Any work flow suggestions other than buying Automatic Duck?”
Just the ones above. Also, depending on your use of the footage, it could make sense for you to cut in an HD timeline, and downconvert on output.
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Lower than what?
How are you monitoring your audio? What do your meters say?
What sort of system/footage, etc.?
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That makes a lot of sense – with all the new goings on at the COW, I just assumed this was a new thing, too.
Thanks, Ron!
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Where are you located? I’d recommend finding a local VAR (Value Added Reseller).
If you just want to buy Imac on apple.com, a bunch of Lacie drives, and use your camcorder as a deck, feel free. But, that sort of setup will not be reliable over the duration of post production for your feature.
Buying a Mac is simple, but in order to edit a long form project, you’ll need storage, a capture card, a video monitor, audio, and more. VARs will help you make decisions and sell you a package.
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Jinx! 🙂
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FCP _hates_ non-standard frame sizes. I’d work on a standard 1080 timeline, make a widescreen matte to guide where your cutoff would be, then export the 1080 timeline self contained, and crop/export in compressor or After Effect.
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So, you’ve made a six minute HD short, and now you’re seeking a post house to master to HDCAM. You should be aware of texted/textless masters, and also split track audio mixes.
I don’t know your situation, whether you’re going to festivals, seeking distribution, or just planning on holding your own screenings, so some of this may or may not apply to you. Also, you may not need these elements right away, but if you’re facing a minimum cost at a post house, it may make sense to have them done now.
Texted/Textless masters
A “textless” master is simply a copy of the film without text. This comes in handy in international situations where the text (titles, lower 3rds, etc.) would be localized for a foreign audience. It’s also handy to have in case you need to recut the film, or make a promo or trailer out of the master.
Split Tracks / M&E
HDCAM tapes have four channels of audio. You may want to consider providing a M&E track (music and effects) track on channels 3&4. This would be used if your film is dubbed into a foreign language, and again could come in handy for recuts.
Two more notes:
When prepping your timeline, be sure to have bars and tone preceeding your show. It’s standard practice (in the US) to have the program start at the 1:00:00:00 mark.
The post house will charge you for time and tape stock. HDCAM tapes can go over $300 a pop – so consider rolling your textless version on the same master, after the texted.
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Very good. While you’re shopping, bring up the workflow that Shane suggested – it’s the best way to go, and finding a post house that can accomodate that workflow will make things easy.
Also, while you’re getting quotes, consider getting bids for a textless master as well. Since your project is short, you’ll probably be paying a minimum, so it could make sense to have a textless thrown in.