[Bouke Vahl]

[Mark Spano] “Not at the same time (i.e. no FCP or AJA app can be open if you want MC to control 422, and vice versa),”

Since the beginning of serial control you cannot have two apps trying to use the same port, has nothing to do with the OS…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Most of the time i use ‘mark in’ and ‘mark out’, followed by some form of ‘delete’ action.
Worked swell for the last 33 years of my career…

If you can’t miss the content and don’t have duration problem with the entire show, adding some visual support to the image might work, or, if you really know what you are doing, just the opposite.
(Read about Wember’s scissors)

Adding sound fx (or even just process sound like compression) can build tension as well.

Speeding up is always the last option, and i have never ever used it on spoken content.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

It does not make any difference, except that your transitions will NOT be rendered interlaced.
This does not matter too much, but it ‘may’ result in your deinterlacer missing some parts.
(if it is smart as some are, it tries to see if de-interlacing is needed. If you make a DVE from interlaced to progressive, it might kick in/out at the wrong time)

Also, if you need interlaced output somedays (like for broadcast), interlaced fx look better (more smooth motion, especially on rolling titles and stuff)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Progressive can be treated as interlaced, there is just no time difference between the fields.

So, edit in an upper field sequence and you can output to interlaced if you need, or de-interlace after you are done editing.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

There are several ways of de-interlacing.
Some better than others, and QT export not belonging to the best ones.

Some compression packages have better ways of de-interlacing.

However, for archival, i would recommend storing as close to native format as possible, and only de-interlace after the edit before final delivery, to keep quality as high as possible untill the very last step.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Kick the one who told you.
Of course it can be converted to 48Khz, but any Mp3 can be used as well, and there are a lot of people who will never hear the difference.

(Keep in mind that lots of video people have one or two computers, lots of harddisks and other gear with fans right on their desktop, and have no decent audio monitoring…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

48Khz 16 bits is DVD video standard…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

I take it 44.1 is a typo, right?

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

well, the end result will be 16 bit anyways, as the DVD specs allow no 24 bit, so why not make that?
(and if the end product is already mixed, there will be no issues with your ‘noise floor’…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

I still don’t know exactly what you are trying to do, but nevertheless:

If you have a XML with start TC’s that are correct, i can write an application to set the new TC’s on all clips.
Contact me direct if you want to discuss this.

But, wouldn’t it be easier to ask the FCP guys to do it right in the first place?

Bouke

https://www.videotoolshed.com/
smart tools for video pros