[Dan Schanler]

John,

I’m not trying to edit H.264 natively in an FCP sequence, I need a better workflow to get large amounts of H.264 videos encoded properly, for eventual editing together.

And I’m not “hellbent” on doing anything wrong – wrong or right has nothing to do with it – bottom line is that I need to edit bunches of H.264 clips, that’s what a client wants.

Shane’s method is a general guideline for the occasional clip or two. (Aside from the fact, as I mentioned earlier, that the color looks a bit better with Prores). I am exploring if there are better workflows for large groups of randomly sized clips.

I’m checking into the audio compression, thanks.
D

Dan Schanler
NYC

[Dan Schanler]

Might have already done it, but check System Settings… “Minimum Allowable Free Space” might be too high.

Dan Schanler
NYC

[Dan Schanler]

Thanks Shane,

had one more follow up – in terms of editing coherently, what’s the best way to use the two different frame sizes of HDV and DVCPRO HD in the same timeline together? I thought that they were 1440×1080 (HDV) and 1280×1080 (HVX), but I’m noticing that the HDV is actually 1920 x 1080.

When I make a sequence with the HDV footage, and then use the HVX footage, the HVX footage is blown up to 150%.

any suggestions for better ways of going about it?

D

Dan Schanler
NYC

[Dan Schanler]

yeah in HDV I definitely noticed, but also the DVCPRO HD after L&T looked like it was extremely sensitive to movements. Just an actor lifting an arm up looked distracting. Hopefully reverse telecine or convert to prores will fix up.

Dan Schanler
NYC

[Dan Schanler]

Ok, great, thanks so much.

It took quite a while to L&T all the HVX stuff, so I also wanted to make sure that I don’t need to redo that.

Just to clarify: after all is done, such as converting the HDV and DVCPRO HD into ProRes, after the reverse telecines, I will be hopefully editing a sequence in 23.98 that has the same frame size and will be artifact-free?

D

Dan Schanler
NYC

[Dan Schanler]

Thanks Shane, very helpful.

I’m pretty clear on the HDV. That Apple article was good, and I’ll use Compressor instead of Cinema Tools for the reverse telecine – as a follow up, do I use this same method on the HVX footage after L&T?

Because after L&T (and yes, I checked the remove pulldown box), I still have footage that’s 29.97. And the reverse telecine just wasn’t working in Cinema Tools.
So should I repeat the process in Compressor with the HVX / DVCPRO HD footage?

Also, as you mentioned they are different frame sizes, so which ProRes conversion would be the best way to go?

I really appreciate the advice.

D

Dan Schanler
NYC

[Dan Schanler]

Hey,
I’m having sort of similar issues. Our graphics guy is using Adobe Flash to create motion graphics for my use in Final Cut. Would anyone have more specific advice (our project specs below)?

The program is for a broadcast network, and my FCP sequence and project footage are 29.97, standard def. NTSC DV (3:2) 720×480, compressor DV/DVCPRO

My graphics guy is giving us flash graphics footage.
FCP says that it’s 10fps, 720×540, Animation compressor.
Quicktime says that the graphics files is 17.28fps.

I know next to nothing about Flash, and the graphics guy has a great design sense, but not too much tech background – what do I tell him to get us graphics that will work seamlessly?

Thanks guys.

D

Dan Schanler
NYC

[Dan Schanler]

The problem I was having was with the DVX100 – got it repaired and it worked fine. (Until this week, unfortunately. May have to bring it in again.)

I’m not sure I can help you with the XL1, sorry.

Dan Schanler
NYC

[Dan Schanler]

Thanks for the info guys. I’ll do a little more research, but I’m thinking I may need a straight 3D program, like MAYA.

Best,

D

Dan Schanler
NYC

[Dan Schanler]

hey Nick –

Unfortunately I didn’t solve the problem in the cheap or workaround sense, rather we had to get the camera fixed. After calling Panasonic they mentioned that the error message from the camera usually meant bad news and had to get the tape mechanism repaired. One of the shops in NYC charged us $800 to do it.

We’ll see if it was worth it, though haven’t had problems since.

D

Dan Schanler
NYC