[Dorit Grunberger]

Hey Chris

I don’t see how the mix of different formats is the issue as (like I’ve already explained), the different formats were each compressed separately, i.e. not on the same timeline at all. I will try to embed a snippet and that might be an easier way to address this. I am very interested in what “compositing and color grading programs” you might recommend. I’m not clear what you mean by “conform everything else to that if at all possible.”

How do I assess if it is or is not possible, and would I do it in Compressor?

Thanks

Thanks in advance,
Dorit

[Dorit Grunberger]

Hey Brent

Did you ever figure it out? I see nobody helped you and I’m interested in the answers as well

Thanks,

Dorit

Thanks in advance,
Dorit

[Dorit Grunberger]

Hi Jeff
Here’s a blow by blow (1hr, 20min Tai C’hi video):

1. I received QT .movs from a camera shot at 16:9, DV/DVCPRO-NTSC, lower field dominance.
2. For newer material, I used our Panasonic DVX100A, shot in 24p advanced (progressive).
3. For newest material shot with 2 cameras (and because I didn’t pay enough attention, rental place gave me a DVX100 that couldn’t do 24 at all), was shot as 4:3, DV/DVCPRO-NTSC, lower field dominance.

So those are the 3 different format/sizes (all SD).

4. All sequence settings in FCP were : QT Video settings (compressor): Apple ProRes 422 (HQ) – overkill…, Video processing: Render 10 bit, Motion: Best

To get around some of the issues, I compressed the project from 7 partial sequences. All the 23.98 were compressed, (best 90 minutes for DVD) separately, and was not problematic. All the 29.97 were compressed in small groups, because I was concerned that the length of the project was getting a little too close to 90 minutes, and thought it might be introducing artifacts that way.

In all cases, I exported uncompressed, QT movies and submitted those to Compressor.

Thanks in advance,
Dorit

[Dorit Grunberger]

Thanks Mark. I decided to restart the computer before doing any resting in Compressor and for some unknowable reason, it decided to work again…

Thanks for your input

Thanks in advance,
Dorit

[Dorit Grunberger]

Hi Chris. Perhaps I can send you a little snippet to view. It’s pretty hard to describe, hence the less than satisfying “artifact” description. The footage where this occurs was shot as progressive, but the entire project is a mixed bag of 16:9 and 4:3, 23.98 and 29.97.
I’m pretty sure the frame controls in Compressor were off so the output fields would be same as source, right?

Let me know if I can send you something and if so where shall I send it to.

Many thanks,
dorit

Thanks in advance,
Dorit

[Dorit Grunberger]

Hi Tom

Did you ever get an answer to this problem? I too out of the blue am getting error -120, even for projects that worked fine just the day before. It looks like anything I put through compressor is basically failing 🙁

Thanks in advance,
Dorit

[Dorit Grunberger]

Well, I isolated the problem to a clip I made in photoshop. It was saved as a jpeg, so I don’t know what the problem is. I’ll try to work around it. At least I know it isn’t the whole sequence.

Thanks again and sorry for the extra bother.

Thanks in advance,
Dorit

[Dorit Grunberger]

Oh crap! I got a message saying that the codec couldn’t be found anfd that I might not have a certain card…
I’m trying it again.
The settings I chose are: QT video settings compressor ProRes 422 (HQ), the video processing pane set to: Render 10-bit in high precision YUV and the motion filtering quality to best. In the Render Control pane, I set the Codec to ProRes 422 and Master Templates and Motion to best.

Thanks in advance,
Dorit

[Dorit Grunberger]

A tip of my hat to you.

Thanks kindly,

Dorit

Thanks in advance,
Dorit

[Dorit Grunberger]

Thanks Dave

In the sequence settings in FCP, do you set the QT video settings compressor to 422 or 422 (HQ)? In the video processing pane, do you set Render 10-bitin high precision YUV? What about the motion filtering quality? In the Render Control pane, what do you set the Codec and Master Templates and Motion to? I do have some motion clips in there as well.

Having asked that on the FCP end of things, the settings and their locations are a bigger black box for me on the AE end. Would you be so kind as to baby-step me through how/where I should set up to accommodate the FCP .mov files, and also how best to export them?

And then I promise to leave you in peace :-).
Thanks so much (Monday deadline, I’m schvitzing)

Thanks in advance,
Dorit