Chris Babbitt
Forum Replies Created
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Yves,
The BPAV folder from your card MUST be inside another folder before the Sony Transfer software will recognize it. You can name this folder anything you wish, such as card1, Card2 etc. Did you do that? The transfer software transfers everything into .mov files, which is what FCP needs.
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On the second clip, did you set an in point after the blank part? That’s what worked for me.
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Jason,
What were your reasons for choosing interlaced over progressive?
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Right on Rafael! It worked, but it’s interesting that the article on Ken Stone’s website on EX-1 workflow suggests the copy & paste method.
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Hmmm..
I don’t know what light level has to do with interlaced vs. Progressive. That’s a new one for me, but I guess there are reasons why Sony gave us a choice. I’d just like to know what they are. Please understand…The resulting DVD wasn’t bad; just not as good as when I shot in Progressive. And then there’s the matter of that weird still-frame. I did notice that Compressor automatically adds de-interlace filtering, and gives you the option of three levels of quality, but not “none.” Does that mean that Compressor is de-interlacing the footage? It also sets the field order as upper. Should it be set to none instead? So far, I’ve just been going with the default settings, and it worked fine when working with HQ Progressive formats.
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Sorry Craig.
I meant to say SP. I know I’m having trouble communicating this clearly. I shot in Sp, because I needed the extra space on my cards. I shot in an interlaced format, because I didn’t know what kind of equipment it would be presented on, and thought interlaced would be safer.
The timeline codec was HD 1440×1080. I exported directly to Compressor mpg2 using appropriate settings to produce a 15 min. DVD. As I said, I was unhappy with the result, so I copied the whole timeline and dropped that into a DV-NTSC timeline. My .psd graphics and a Livetype title did not scale down. A title created in Boris Title 3D DID scale down correctly. I tried this twice with the same result. So, I didn’t take it any further. I didn’t see any evidence of “breaking the codec.” I just thought the result was not a crisp as I’ve seen when starting with 1080p material. And then, there was the issue of that one freeze frame that looks aliased.
So, should I stay away from shooting in interlaced, or do you think I have done something else wrong? As I said before, I have had great results shooting in both HQ and SP progressive mode.
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Very good.
Thank you Craig & Noah
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So, Noah, are you saying that the problems I am experiencing are normal?
I would rather that it work correctly, than have to work around the problem if possible. -
OK!
That explains it. Thanks Jeremy.
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So, if I have a graphics-heavy DV project, it won’t give me a better result to render with ProRes over using the DV codec?