[Carsten Orlt]

You’re absolutely right, this software deserves a review.
But I totally understand your hesitation to write something, I couldn’t either 🙂

Maybe some of the good writers out there hear the plea..

Cheers

Carsten

[Carsten Orlt]

Rafael you are a star!!
This Purifier software is amazing and I bought it straight away. Gives old BetaSP upscaled to HD a new live.
Best tip in ages!!!
Cheers

Carsten

[Carsten Orlt]

Unfortunately you can’t. Maybe one day..

Carsten

[Carsten Orlt]

As a rule I never export OMF’s with crossfades, level or pan. They don’t travel well and different software handles them differently. Also sound people like to do their own stuff anyway.
So you might want to try exporting your seq without selecting any of the above as I do not have problems wit OMF’s

There is a slight chance though that an audio file is kind of corrupted (not the audio itself but the metadata inside FCP). Your 2 exports will show if this is the case so you’re one step ahead here.

Last tip: give at least 5 sec handles (I do 10) because one second is really nothing if a sound editor needs to extract some noise print or the like from the clips you send.

Hope you’ll get it fixed.

Cheers

Carsten

[Carsten Orlt]

First thing to understand is that SD (standard definition) PAL is always 720×576 which is just by the pixel count 4×3 aspect ratio.
How to we get the 16×9 aspect ratio images out of that without changing the pixel count. Simple, just define each pixel as NOT square and I can then create a 16×9 picture with a 4×3 pixel count = PAL SD anamorphic. The pixel count for PAL SD with SQUARE pixels is 1024×576.

Animation codec (or any codec for that matter) doesn’t care if your pixels are square, anamorphic, round, triangle… A pixel for the codec is just a bunch of numbers. The only reason some codecs have the 16×9 option is to tell the software that uses it that it’s pixels are supposed to be interpreted as anamorphic shaped.

So you can export from Motion as animation 720×576 and when you open this clip in FCP make sure to tell FCP that this clip is 16×9 and it will display it accordingly.

Hope all this makes some sense (if anybody disputes anything please correct me as I’m not a technician by trade)

Best

Carsten

[Carsten Orlt]

Duplicate your video layer. on the top layer separate the trees by using mask(s), put your title between this ‘tree’ layer and the bottom video layer.

Best

Carsten

[Carsten Orlt]

Motion supplemental Documentation – page 91

I haven’t tried Mocha, so it might be easier with it, but as far the tracker in Motion goes, you have to fiddle a little but all the tools are build into the software to tackle this problem.

Carsten

[Carsten Orlt]

Your workflow is correct.

So the only thing I can think of is that you might edit in 24/23.97 and Soundtrack runs at 30/29.97 or vice versa and therefor the audio starts running out of sync.

I’m in Pal land so I’m not too familiar with NTSC frame rates. You should check your Soundtrack project settings and see what FPS you have there compared your seq in FCP.

Carsten

[Carsten Orlt]

quicktime format: H264, 640×360, limit data rate to 768 kb, 2 pass, AAC audio 44 or 32 at 128 kb. = files size about 450MB
if you really want good quality set the data rate to 1500 kb = file size about 650-700 MB
Compressor has H264 presets that you can modify accordingly.

software: cyberduck, https://cyberduck.ch/

Carsten

[Carsten Orlt]

The way I do it is the have the texted version in the film and then just repeat the whole video sequence of the credit BG from the last cut (if you dissolve into the credit sequence go back to the last cut before) to the end without any text. I start this textless version not before at least 30 sec of black after the film and I start on either full minute or half minute. This way anybody can create their own text and has a clean cut point to avoid any level jumps.

I also provide a written list of which textless BG goes where in the film with TC ref.

Carsten