David Baud
Forum Replies Created
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can you cut down your 30min. long clip? you might get better result stabilizing shorter clip duration…
Other solution are plugins like RealSteady, Mercalli… if you have FCPX or DaVinci Resolve, they also have stabilization tools that would give you different results.
Good luck,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
What do you call a pro-broadcast monitor ? which brand/model is it?
If you mean a reference monitor, from my point of view, any professional (someone making a living in film making) should have a monitor they can trust to make visual decision knowing it will have the best chance to look similar on a client’s monitor.
So I guess you have to ask yourself if video quality is important to you (and your client) or is “good enough” what you want to live by?
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Ryan,
I am not sure what you are talking about. When Interpreting footage in PrP there is no export involved.
Please be more descriptive about your process and what you are trying to achieve.Best,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
What Tero says: use Project Manager and output an XML of your film sequence. Also provide your colorist with a movie file output of your film so they can make sure nothing was lost thru the transfer.
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Bonjour Lorène,
Are you delivering your film to a french broadcaster?
I believe you should be ok with your settings but if you can I would ask to run a test and confirm with QC that your file is compliant with what is requested. Regarding timecode, it specifies that timecode is embedded in different ways in the MXF file… which I believe is part of the MXF OP1a standard. I am not sure if it will make a difference with your MXF output, but I will make sure your timecode sequence setting starts at 00:00:00:00 as well.
Also if you want to get the best quality output, I would check in the following:
“Render at maximum depth” and
“use maximum render quality”Bonne chance,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Make sure to “Modify / Interpret footage…” from your bin window and not the timeline.
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Hello Emily,
Usually you want to make decision of your master film frame rate based on your medium delivery, the market you are targeting and the place where you are producing your film. In the USA today most digital films are shot at 23.976fps whereas in Europe it is 24fps. I don’t know about China…
In any case you are better off matching your frame rate for pictures & sound! In the USA most productions work at 23.976fps and if you don’t specify otherwise that is what post-production services will be expecting.
In your case, if your audio is recorded at 24fps, I would recommend to shoot at 24fps as well. Then I will keep all your post-production at 24fps (editing, VFX, color, etc…) For delivery you will output a 24fps DCP as well which is one of the DCI standard. So for theatrical release it should not be an issue.
If you consider a broadcast/TV release in the USA, you will have to either deliver a 23.976fps or 29.97fps (with pulldown) master which means you will have to do a conversion from your 24fps master. Always check with your distributors what they want/need as a master.
Regarding audio recording, you are right, there is no frames per say, just a speed synchronization with your video recording.
I hope this help,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
My guess is a decoding issue: for some reason DaVinci cannot decode your file correctly.
You may have to transcode it first somewhere else.David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
It is hard to tell not looking at your timeline.
Knowing you want to output for DVD (NTSC I am guessing?), if you’d like to keep interlaced, you would want to go “lower field first”… this is how I would setup your main timeline. You can copy and paste clips from one timeline to another even so the settings are different. You may have to adjust your cut (especially with motion). You can select all the same type of clips at once and then select field options to switch the interlaced settings.
I hope this helps,
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com -
Do you have to mix in the same timeline progressive clips, odd & even interlaced clips?
You could first cut your program by associating one track per kind of footage (ie track 1 = progressive, track 2 = odd, track 3 = even). Once you are done cutting you could copy and paste each track in a new sequence with the right settings for each kind of clips. Then do the appropriate conversion for your final program.
Admittedly not the most straightforward way of editing, but will avoid to have to convert all your footage before end.
David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com