Floh Peters
Forum Replies Created
-
[Greg Snyder] “I also notice that the footage is darker on import as opposed to capturing the clip in both FCP and M100!! Strange.”
That is an issue of the “slow import”.
-
Media 100 can use ProRes 422 footage natively. So it *should* fast-import the clips FCP did capture. Try importing one or 2 clips, and do a “show original” on the clips in the Bin to see if they are new copies or the original clips.
One problem could be a bug FCP has: it quite often does not write the first frame of a new clip in its correct length during acquire. It happens quite often that FCP acquires something and reports the first frame as longer or shorter than it should be, which can irritate the Media100 importer. -
And to clear up the mystery why I still had RED under Suite 1.0.2: The version of RED shipping with 1.0.2 was broken. But since when we upgraded our systems from Media 100 V13 to Suite V1, I did not do an uninstall and reinstall, but I installed the software over the older version (I know I should not do it, but…). Somewhere along some earlier versions of Media 100, Boris RED was renamed to “Composite Suite” inside Media 100. This got changed back to Boris RED at some point. Since I did not uninstall the old Composite Suite plugin remained on our systems.
Now usually Boris RED gets loaded as a plugin for tansitions, titles, effects,… but since Boris RED did not work and Composite suite still was installed, Media 100 loaded the older Composite Suite filter, still giving me transitions in Suite V1.0.2 (but also crashes on newer MacPro systems).
The RED updater fixes this situation and should also remove older Composite Suite filters. So if you are using V1.0.2 you definitely should run the RED updater. -
If they are coming from HDV, they could be progressive. Try stepping to the frames with COMMAND-Arrow left or COMMAND-Arrow Right to step through the fields to see if the field order is correct. Maybe they have been shot progressive with a wrong shutter angle, or they have been shot interlaced and have been converted to progressive by dropping a field.
Or they have been scaled down from HD to SD incorrectly
Or they initially were shot at a different frame rate
Or…In most cases there is not much that you can do about this, except trying to figure out what went wrong and to see if there is a way to avoid that.
-
What you should do is to export as “QuickTime”, DV stream, Lower Field first, NTSC, Computer (0-255) range. Then convert in Compressor using the Lower Field First setting. Most likely there is a problem somewhere that you can easily avoid by exporting as DV stream. Probably you are starting with a black frame (or you use either the Media 100 black or a gap in the timeline as black), which switches your by-ref movie to 720*486, which then will bring you into scaling and interlacing issues.
-
[Wickham Strub] “One detail that came up during our conversation is that he’s on OS 10.5.8 Leopard. Perhaps that’s the key. What are the rest of you using? “
10.5.8 on our systems.
-
Hmmm, RED is working for me with Suite 1.0.2. Which part of RED is missing for you? As a transition, or as a composite? Where are you looking for accessing RED?
-
Sounds like your field order is wrong. Are you using DV PAL or NTSC? Try encoding with the correct field order (Lower field first for PAL DV, not sure for NTSC). If you are using NTSC, you also need to make sure that you crop from 720*486 to 720*480 correctly (although DV NTSC should be 480 already).
-
I agree. We have to use FCP for some projects also, and it definitely has some nice features. But alone the loading times for larger projects is crazy, and the fact that timelines only “live” in projects and are not saved as individual files. With the work we are doing (usually with huge amounts of source material) we always reach a size where we can only have a single FCP project open. If we try to open a second one the app crashes; but since we eventually have to bring together different timelines from different projects this always is a huge pain.
Plus, the fact that it most of the time is extremely difficult to play out a complex FCP timeline to tape (missing audio tracks or missing audio keyframes during Master to Tape, problems when rendering audio clips, problems doing an insert or assemble edit frame accurate without audio or video glitches) really makes FCP a pain when trying to do long form projects or projects that extend over a long period of time compared to Media 100.
-
[John Twigt] “Must have been hiding there for probably some time now 🙂 “
Yeah. But I am also surprised that I discover new features in the software quite regularly. I sometimes even have the feeling that the Engineers hid some features just for the moment that customers ask for them, being able to say then: we did that already but told nobody 😉
[John Twigt] “P.S. all P2 problems are solved with Suite 1.0.2, even the transfer speed is higher now. “
Now that is good news.