[Bruno Toré]

Thank you all for your help. I did export an MXF OP1a and then used Media Encoder to kick out an h264.

Thanks, Pat somehow I had missed the mov and mp4 options. That works great and saves me the extra Encoder step for the next couple of exports.

[Bruno Toré]

Your Cristal Ball tends to be good but this time its off. I could see the problems on both the Flanders video monitor and on my computer monitor, granted both showed different issues with the same export but still wierd that the video monitor would also have weird pixelation and crazy colored line issues…

Thanks for your help, for now I think Twixtor will be fine, in the future I will have to tackle these camera blunders when I first get the footage not after. My bad, I knew it was gonna bite me in the end just not sure what actually bit me yet, still doesent make sense to me that its the 60i footage thats giving me problems since I am exporting form the right sequence settings for the 60i footage.

Oh well…

Thanks for the advice!

[Bruno Toré]

Thank you so much for your quick reply Dave!

Originally the delivery was supposed to be 23.98, by now I have heard different things from client but lets stick to 23.98 as the 60i delivery would be only for an excerpt of the video that might be broadcast.

Im going to share my workaround with you, perhaps you will find it silly, but it has produced the best results so far, as I had the issue of turning 60i into convincing 23,98, plus I was trying to keep the same length on the clips because I already had a cut and wanted to try and keep that cut which had been approved by everyone. Either way this is what I figured out that worked for delivery on that format:

First off I should mention that I figured this out thanks to a combination of two posts mentioning Twixtor as viable possibility one of which was by you Dave.

“I recommend using a third-party plugin like Twixtor to convert the 1080 29.97 footage — the same thing as 1080 60i, y’know — into 23.976. Do individual shots, not an hour-long clip or something stupid like that.”

This combined with an article on how twixtor does its “magic” gave me a hunch it was a viable option, but really it was just a Hail Mary on my part as I didnt fully grasp the concept at the time.

First I created a new timeline in FCP (23,98) I then match framed all the 23,98 clips on the 60i sequence and moved them to the new sequence.
For the remaining clips (60i), I exported just what was being used on the timeline as a self contained .mov and took each one of them to AE and inside AE I used a mixture of Composition settings changes, and Twixtor.

These two things allowed me to not only keep the same length on the clips (plus/minus one frame) it also produced convincing 23.98 looking footage, I did add the tiniest possible amount of motion blur in twixtor, I was worried about this but it worked out great.
So things look alikeish and everything including the singers synch performances remained synched.

The one thing that still baffles me is why was the 60i footage the one with pixelation and stuttering issues if it was being exported from a 60i sequence? I expected issues with the 23.98 footage coming out of that sequence but it was the opposite…

[Bruno Toré]

I regretted writing dirt cheap the moment I clicked post. I would like to try and get something under $850 if possible that exists. just seeing if the option is there if not, I guess i have to go with long wires.

Again the quality of the image for the monitore is not really important for this gig, the Director just needs to guide where im supposed to be pointing to since I dont know the steps of the medical procedures we are shooting.

[Bruno Toré]

Thanks Peter i started looking at it but I was hoping there was one monitoring solution that allowed me to alternate btw macbookpro and Macpro, instead of a seprate monitoring device/board for each

[Bruno Toré]

The footage is all Apple Pro Rez 444, but as I mentioned before this has been happening for the past 3 projects which were different resolutions including pro res 422.

Of course it needs rendering, Im not complaining about that being a problem, the problem is that opacity seems to be the only thing confusing the software, other changes like speed still require me to render a preview but i can at least see the unrendered preview without issues such as massive distortion or the actual canvas going completely green.

This specific project was shot on a 5D, but 4 projects ago i had no issue with 5d footage.

I cant figure out what is causing it but it doesn’t seem to make a diference the format, codec, camera, alpha I tried all different things and nothing. Seems to have to do with the RT but what could make that change in a couple of weeks. I havent noticed problems with other video softwares. Doesent seem to be a problem with the ram either

Is it possible something is wrong with the graphics/video card? and is there a way to diagnose that?

Just for clarity I have been using the same computer for the past couple of months and never had this issue before, I am also the only person with access to the computer.

Thank you

[Bruno Toré]

Holly Cow

I guess I had never had to reimport 444 with alpha before, Im blown away that I never knew about this, thats nuts!
thank you very very much.

Glad they fixed it in CS5.5.

Thanks for the help

[Bruno Toré]

Thanks you Steve I actually found it and posted the link on this same thread yesterday.

[Bruno Toré]

Thanks Noah unfortunately i will be shooting in a very remote place, cant find a single rental place there.

But fortunately I just found out that they came out with an update for the firmware that allows you to control the levels independently hope it works.

this is the link if anyone needs it in the future

https://www.zoom.co.jp/downloads/h4n/software/?lang=en

[Bruno Toré]

thank you Dave I knew it had to be basic.. Ears down, tail btw my legs and back to work.