Chris Poisson
Forum Replies Created
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More info please, what kind of media and what v. of FCP? Any video card?
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Me three! WooHoo!
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Derek,
I have not seen that jitter. It could be a field order issue…
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Very simple, very easy. Just export a QT movie, no need to make self-contained, and put it in Compressor. Choose a high quality encode for DVD, in the inspector you will see that it is set to 720×480 16×9.
You also can send your HD timeline to Compressor and encode the same way, but it will take longer, and the results might be cleaner.
Load your assets into DVDSP and choose to hve it letterboxed or widescreen. That’s it. Compressor will do all the scaling, etc.
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Hi John,
Duly noted, the Activity monitor. Heck, tossing prefs didn’t work. Just dreading a time when a client will be sitting here waiting for his encode to start, and some job I’m trying to cancel won’t. Ouch, really bad, Apple!
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Kevin,
Yes, I see how you must feel. There are a few articles around about your camera, one in DV by Adam Wilt, perhaps he knows a workaround for you, or if indeed you’re okay.
A test you might try on your own, shoot something which has both still objects and some motion in it, and shoot it in 60i and then in your progressive modes. Do your capture and test some various outputs, tape, progressive QTs and see what you get. If it looks good, why worry?
You might also try some captures with the component out with a card if you have one, that way you could try different codecs and see how it all behaves. You’ll have to patch the audio somehow and live with new timecode, but hey, worse things happen.
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You are not alone, well, maybe you are with a V1U in 30P, but I am using 30P from a Canon A1 and I just love it. In a 60i timeline it works just fine. For broadcast, just let FCP and/or your card handle it, and if you’re going on the Web, just do a progressive output. BTW I did a test last week shooting a clip of someone walking by the camera at 60i, 24P and 30P, and when I did a native HDV capture FCP knew the frame rates were different and captured them all different. So it knows what’s coming in. No worries.
I prefer the look of 30P to 24P, and it just seems like less hassle. Only reason to shoot 24 is if you might someday go to film, otherwise, why bother? Here’s a great thread on this:
https://forums.creativecow.net/cgi-bin/new_read_thread.cgi?forumid=2&postid=881694&univpostid=881627
Read Dave LaRonde’s comments on 30 vs. 24P.
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If this is an old project from before your upgrade, I would create a brand new project, make sure the easy setup matches your workflow and copy and paste everything from your old project’s browser and timeline. If you still have sync issues, try trashing prefs, toss all your old render files and re-render, restart everything or all three.
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Shiloh,
This sounds like a setup issue, somewhere in your post process. There are a number of great articles on this, I have one in rich text format, I’ll be happy to send it to you if you email me, my contact info is in my profile.
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Hi Brian,
The Z1U I was using was a rental, I’ve used it 3 times now, it’s the first HDV camera I’ve tried. I like it pretty well, although now I own a Canon A1, and have real-world experience with both.
I like the Z1’s functionality, but I like the A1’s better. I have been using a DVX 100 for 5 years, still have it, and the Canon seems an easier fit functionality-wise. I am a fan of progressive shooting, done it in 24pA with the Panny, and the 24F in the Canon looks and feels about the same. Don’t really have that in the Z1. Also, the larger chips give a bit more cinematic feel, more DOF control, which I really like, as DOF control is a critical component to help a film look IMO. I have considered a Redrock M2 as I have a couple old Canon SLR lenses, but it ain’t cheap and the image goes upside down, so hopefully Canon’s DOF control will give me what I want.
Then there’s the cinema and other settings in the Canon that will make your head spin, just getting started with all that, but I really love it.