Eric Johnson
Forum Replies Created
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This may sound foolish, but are you sure your video playback settings are correct? Also, do you use the “use different settings for edit to tape/print to video” in the A/V devices tab in A/V settings? I have more than once changed the playback settings and forgotten that the different playback has to be changed independently.
Also, is your ioHD setup to downconvert or upconvert, since you were just working 525i?
These are places that issues commonly arise. Especially if your audio is getting there, but not picture.
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Unfortunately that is about as far as you want to be from an editing codec.
Transcode to something else.
Even if it works in the timeline you’re working in now, it will cause you problems later.
What are you hoping to deliver as? What is the majority of your footage, that is not H264?
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What is the codec of the .MOV files in question? It sounds like they are something not supported by the RT architecture. May be some for of MPEG. if that is the case you need to transcode in MPEG Streamclip (freeware) to what ever codec you plan on working in.
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Put the HD Export into a SD 4:3 Timeline. It should scale itself to be letterboxed. Send to Compressor and set to the settings of your choice. Export.
YOu can also export straight from FCP, but going through Compressor will yield better results.
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You just described the Apple Pro Training Series…
I own a bunch of those books, they are great. Pricey, but have everything. At least to get you started…
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True, like I said, not an attack. Just an example.
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Something to note is that when you get Animation files form AE, the gamma is usually FUBAR, at least in my office, so something that may help is to change how FCP is interpreting the Gamma of RGB files, under User Settings, Editing Tab lower left corner. If you change that to 2.22, then the washed out look you are referring to should not be present. It may even lower your levels a smidge because it is effectively increasing your contrast a bit and darkening.
Also, any reading you are getting off of the CC of Broadcast safe filters, before rendering the clip are basically inaccurate. You need render the clip before looking at your scopes.
You’re also, if I’m not mistaken, changing color space in your export (from Animation [RGB] to Pro Res [YUV]), so certain values are just going to change. When applying the filters is you sequence set to you Animation codec settings or the files destination setting? If the sequence is set to your final file type, then you should get a better idea of what you will get.
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With no intention of jumping on your back, Triptych was also used as a film term to describe use of 3:1 aspect ratio. An example would be “Napoleon”.
Granted not a widely used descriptor, but still used.
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You may want to find out if LaCie of Highpoint even support each other. There are some cards that just don’t speak the right eSATA for certain drives. And in other cases, using the card manufactured by the drives OEM will provide features above and beyond other cards. An example would be G-Tech. They have their own drive maintenance/monitoring software that can only be used if you are using their eSATA card with their drives.
That’s not to say you can’t mix and match, I use both LaCie, G-Tech and Sonnet drives with a Sonnet card. But that doesn’t mean they are all interchangeable.
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Unless there is a reason you need to go straight to H.264, export the sequence at Current Settings and convert that to H.264 using either Quicktime, Compressor or MPEG Streamclip.
That way you can at the very least the sequence delivered, and trouble shoot during the encode.
In response to your question though, I have had dodgy luck at best using the QT conversion export in FCP. It does a much better job of spitting it out how it was cut. Which then allows you to easily convert to something else. In some cases, going to the intermediate then compressing can be faster than, or at least comparable to, doing in one step.