Eli Mavros
Forum Replies Created
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File>Export>Using Quicktime Conversion….then go into the options and there is an option for size…put in your widescreen dimensions and then export…should be a work around.
-Eli
Eli Mavros
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Yeah, I saw that option, but does 1pass=CBR? I did not think that this was the same thing.
-Eli
Eli Mavros
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I don’t see an option in the mpeg2 quality settings to encode at CBR…How do I change it?
-Eli
Eli Mavros
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I always thought 2Pass VBR was the highest quality…I could be wrong. Is there a preset for what you do, or did you just modify one of the existing presets? Also, why in Compressor 2 (and not version 1) are there both presets that say “DVD: Best Quality 90 Min” and “MPEG-2 90min High Quality Encode”? This seems kind of confusing to me…what is the difference between using these presets? Aren’t they just two different ways of naming the same thing? Also, why for the latter is there a 60min option but not for the former?
Best,
EliEli Mavros
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This unfortunatley happens on every file I try to feed it, whether it is a sequence from within FCP or a QT that I add to the batch list outside of FCP. These are only 30 second spots and I have half a terabyte left of space, so I don’t think it is an issue 🙂 If I cannot use 2pass VBR then the program is pretty useless to me…otherwise I guess I will just encode it by dragging the full rez movie into DVDSP…but would sure be nice if I only had to export/encode once.
Best,
EliEli Mavros
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I have Cleaner 6, but for some reason I could never get DVDSP to accept MPEG2s encoded with it…but I use it for all of my other compression needs. But the other reason I would like to use Compressor is so that I do not have to actually render out a full rez movie first before I put it through an encoder, I yearn for the ability to just export an MPEG2 straight from FCP’s “Export Using Qucktime Conversion” that I lost somewhere between fcp 4.5 and 5. Would it be too much for Apple to just give us this one function back…so simple. 🙁 Are lot’s of people who are having these problems have similar systems? I forgot to mention last time that I have a Kona LH…could that be interfering?
Best,
EliEli Mavros
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Yeah, this is pretty much the method that I have been following for a long time now (except used to use BMD 10bit codecs, cuz we had an old AJA SD card. We have always captured stuff at 10bit for SD, cuz we only do short commercial stuff and have tons of harddrive space…Only since we recently got our LH cards can we capture 10bit HD. Unlike SD, where we own 2 digibeta decks, we have to rent an HD deck when we do HD work. When we actually do shoots (keep in mind we do mostly GFX) we usually have tons of footage, so it doesn’t make sense for me to capture all the footage at 10bit HD. But if it makes no difference whether I capture DVCPro HD then export the clips at 10bit or if I actually rent the deck again and recapture the footage used for the project, then I will obviously opt for the former option. This would save me the cost of renting the deck again and the pain of recapturing (and headache of recapturing stuff that was shot at 60 to play at 24 after using the TFC). If this is the case, then in the future i will only capture once via firewire and then when it comes time to send the footage to the fx guys, I will just export them 10bit and call it a day.
Best,
EliEli Mavros
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I understand that it doesn’t really make any difference if I am just doing regular show/film work, but I work for a motion graphics boutique (www.brandnewschool.com) and we often really push our footage to it’s limits, and I need it to hold together as long as possible. If I were just doing some light color correcting it would be one thing, but as far as I understand it, I do want to work in 10bit for the kind of fx work that we do…I am just wondering if there is any difference in capturing 10bit vs rendering at 10bit (or exporting from FCP as 10bit for AE artists to work with the footage). Because if there isn’t, then we could both save time and money for sure.
Best,
EliEli Mavros
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Sorry for posting my response so many times…It kept not going though (so I thought), and now it is up there 3 times.
Gary-
“please confirm
you have plenty of footage on the tape,there are no TC breaks, you are not capturing over a Speed ramp, you are positive that the footage is 24p ( you checked the User bits on in the Kona control panel), you are not capturing bars and tone as captured on the tape or anything that could have been generated in camera. ”Eli-
I had plenty of footage on the tape, there were no TC breaks, no speed ramp, the footage was definitley 24p, and I did not capture any bars and tone. Like I said, it was that capture setting that was wrong.FYI, I found an easy way to take 60p footage and run it at 24 for slow motion…even if it is not in the DVCPro HD Codec (which is necessary to use Panasonics TFC). I was really worried about this, because we did shoot some footage this way, and I was afraid that I would have difficulty doing the slow mo thing once we onlined the footage at 10bit. I captured the clip at 60p and then conformed it to 23.98 in Cinema tools. Brought that clip into FCP and compared it to the DVCPro HD clip that was converted with the TFC…and voila, they were exactly the same length and frame accurate. No need to do any exporting or nothing.
Tnanks for the responses,
Eli MavrosEli Mavros
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Funny that I am the only one to experience this (maybe since the driver updates?)…but I finally figured it out on my own…after 8 hours of tech support. In Audio/Video Setting I went to the capture presets and actually had to change one of the settings in the “AJA Kona LH: 720p 23.98 10 Bit Varicam” setup. By default the Input on this setting is set to “720p59.94 (1280×720)”, but it needs to be set to “720p59.94 (1280×720) VariCam”. Man this was a terrible day for such a stupid little thing that should have been set in the first place.
Thanks for trying to help,
Eli MavrosEli Mavros