Bouke Vahl
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Just the pragmatic way…
Get any old computer and use that as a stand alone audio meter?Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Not sure how to do it in FCP, but the general trick is to trash half the frames, then you have 30P. (actually 23.976)
Next step is to slow that than to 24P.
AE can do this, (perhaps in two steps), interpret footage and put it in a timeline (again, perhaps first 59.94 to 29.97, then 29.97 to 23.976)
So yes, you have a bit of slomo, and yes, it will stil look like video,
as the shutter speed is way higher at 60, so there will be way less motion blur.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Stop worrying.
Use Pal Widescreen setup and put your footage in there, scale to fit the frame.
If you then render out, you will see that the final footage is 720×576.
Now go to your MpegII encoder of choice, make sure you flag the footage as 16:9.
Burn a DVD, put it in your computer and you will see it is right.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Create a comp PAL anamporphic widescreen.
Interpret footage as square pixels, and drop it in.
Scale to get it fit. This must be a horizontal / vertical scale at the same size, since both are now 16:9.You can make a 720×576 comp square pixels, but then you need a horizontal scale bigger than a vertical scale, but anyways, make the entire image fit in the new frame.
If you pick one or the other, the end result will be the same.
Now how did you notice the resolution isn’t 720×576?
Don’t trust QT, it can show a different size than it actually is.
If the comp size in AE is good, and you render out without scale or crop, the size will be good.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Shawn,
for Offloader and color, i don’t know. In my experience Canon stuff imported over AMA comes in a bit washed out.
When i do a regular import with input levels set to RGB it’s better to my liking.
Offloader uses QT and the avid codecs to convert to DNxHD, (or any other codec) so it’s pretty much the same as a ‘normal’ avid import.Only advantage for you at this stage is that you can put mulitple computers at work, and they don’t have to have Avid installed.
But it’s also a very unsophisitacted way! (I made it so to be simple and highly versitile, without having to know all the specific codecs that are around. In this case, ‘if it’s qt compatible, it works..’)
So it could be done in a more efficient way.Nevertheless, AMA relink should work. I just toyed around with canon clips with the same name, moving files, renaming them, and it seems to be quite solid if you keep them in their unique named subdirectory structure.
Also, the MediaPath in the bin reflects the original, even after a transcode. That should be something that comforts you, as you can restore that path if needed (but again, i could link to several different drives / locations where the files have moved, without a glitch. I Did not switch platforms though…)Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Shawn,
Thank you for your interest in QTchange (i’m the developer) but:
QTchange won’t help you that much, since timecode isn’t involved in AMA relinking. Filename is!
I’m not sure how far the pathname is involved (i’m still fighting with AMA relink myself for another project.If the pathname is involved, and you keep that intact, you should be able to relink to AMA even if you have multiple clips with the same name.
However, you could try another approach (perhaps a bit late now)
If you use QT change to add timecode and add a Reelname (that has to go over ALE or you have to set it yourself per folder),
you could do an old fashioned tape relink.Same goes if you use my Offloader program. That can transcode Canon material straight to Avid DNxHD, including timecode and tapename.
This could be repeated for online (just the shots used) to get the HQ stuff.Now to find back the stuff that needs to be imported for relink, i’ve got some other code (not public yet.)
Drop me a line off list if you want to toy with it.
(but keep the AMA relinking workflow here, as it will be interesting for everyone!)Last but not least, you could import (not ama) the Canon stuff at DNxHD 36, and re-import at a higher quality. That’s a proven workflow…
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
hmm.
There is no Pal and NTSC sound…
I take it your sound guy has speeded up the sound from 23.976 to 25.
Check the sound durations. If the “PAL” version is about 4% shorter, this is what he intended.
In that case, export your movie into one large QT, use Cinematools to conform the speed to 25, and you are at PAL speed (with a shorter movie).
Next, add the altered sound and make your DVD. (You need to downscale to 720×576 and flag it as anamorph, pretty sure Compressor can do this)
This is the highest quality you will get, and it’s the fastest procedure as well.But if this is for an approaval screening and not projection, just send an NTSC disc, as everyone will be able to play it.
Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Watch it?
If you have a horizontal move, you should see the interlace lines.The info in the clip could be meaningless, as it is a flag that can be set by anyone to their liking.
The only way to be sure is to check it visually, or knowing the source and history.
(eg, 5d material is always progressive, as the cam can’t shoot otherwise. But if it was shot at 24P and someone added pulldown, it will be interlaced…)Bouke
https://www.videotoolshed.com/
smart tools for video pros -
Did you try watching your final file in VLC?
Perhaps it does contain all the info, just QT player does not like it… In that case, youtube probably will eat it. (It converts anyways)
So, just upload it (and set it private to test first.)
If that fails,
How about exporting to another codec than ‘same as source’?
Recompress to a managable size before uploading if needed.Bouke
https://www.videotoolshed.com/
smart tools for video pros -
any reason not to use the old software that did work?
Bouke
https://www.videotoolshed.com/
smart tools for video pros