Eli Mavros
Forum Replies Created
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That is a good point. It’s more the designers seeing it I’m worried about. A dangerous combination can sometimes be someone with a good eye and little technical knowledge. I can tell them that nobody will ever see that, but whether they believe me is another question. When you deliver an SD format like digibeta to a station, do they just crop those six extra pixels?
Thanks for all the great responses,
EliEli Mavros
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I agree with you guys that I should probably just stick to the standard of 540. I just questioned it because Larry Jordan made the same claim that it should be done in 547. Also, there is still the issue that if you drop a 720×540 graphic into a 720×480 (ie DV) timeline, then yes, it will perfectly fill the frame on the conversion from square to non-square pixels. But if you drop that same graphic into a 720×486 (ie broadcast) timeline, you will notice that the graphic does not entirely fill up the frame…there will be black lines at the top and bottom of your frame. Which sounds to me like the conversion does not REALLY work for both the 720×480 and 720×486 formats. So, should I just ignore those lines because they are out of action safe (though they will be visible if viewing the movie on a computer), or should I blow the graphic up by 1% to make up for that not-so-perfect pixel conversion (which I am not thrilled about doing)?
Thanks,
EliEli Mavros
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Why is there a work around, when choosing to export an EDL using “Source” timecode seems to give you a perfectly good CMODE EDL? Did this feature not used to work and thus the work around? I am comparing the two EDLS from both methods, and the clips seem to be in the exact same ascending order.
Best,
EliEli Mavros
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Wow…Monday morning brain fart. Those timecodes are not the media start and end, but the clips’ placement in the timeline. Yikes…I feel like a dope. Thanks anyways.
Best,
EliEli Mavros
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Had to go to Application Support in Library and trash the Final Cut Studio System ID in the ProApps folder and then relaunch…Fixed it. Awesome! Thanks for the posts guys and girls.
Best,
EliEli Mavros
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Oooh…I don’t know. That could definitely be the case here. Will check on it. So to solve it what did you do? Did you have to reinstall or log in with administrator rights and then enter the serial?
Thanks,
EliEli Mavros
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Bummer. But that is what I figured. The worst part about this whole thing is that I think this is the second time I’ve done something just like this. I knew that it wasn’t a real time format, but I guess I was too excited when I saw it as an easy setup and even tested a clip to make sure it would work…obviously not enough testing (I guess I just threw it in a timeline, saw that I didn’t have to render, and figured it was going to be cool). Stupid, stupid, stupid.
Thanks Shane,
Eli
Eli Mavros
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Looks like I fixed it by restoring the audio settings in the individual sequence’s settings. It bothers me though, because this occurred on multiple sequences, so I don’t know what I need to do to fix it across the board. Trashing prefs didn’t fix it, and not only that but after I trashed the prefs I lost all of my Black Magic Easy setups…which I don’t remember ever happening on any other computer I’ve ever been on with a decklink installed. WTF?
Any Input is appreciated.
Best,
EliEli Mavros
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Yeah, it is.
Eli Mavros
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Thanks Greg…I did the same thing, just with the Blackmagic drivers…even though I am using a machine that has neither an Aja or BMD card. Silly that you have to do a 3rd party work around like that; shouldn’t there be an out of the box group of Easy Setups for ProRes?
Best,
EliEli Mavros