Fred Miller
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dpi was the only thing I changed. I remember this specifically because it was a project in which someone else prepped the stills. They had followed my instructions as to minimum/maximum pixels, but ignored my instruction to set dpi to 72. It was probably about 3 or four years ago.
My first response was an attempt to address the ensuing discussion and the last sentence of the initial question, “So, should I ignore dpi settings in PHotoshop and just adjust the dimensions of the photo from lets say 1920 x 3000 to 720 x 480 or always adjust the dpi as well as the dimensions & set each image to RGB mode?”
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Last sentence in the manual to the above link:
“even though the dpi setting for your graphics is irrelevant for working with video, keep in mind that many people may still adhere to a policy that graphics for video must be 72 dpi. To avoid confusion with other graphic designers, you can leave your video graphics at 72 dpi. Just know that there is nothing special about this setting.”
I will say that I have had trouble with 300dpi images in FCP (slow renders – crashing – “out of memory” messages). And that changing the image to 72dpi (but not changing the size) HAS cleared up the problem. To me that IS relevant. I’m not saying that anybody is WRONG in this debate. What I am saying is that part of my prep of any still coming into FCP, AVID or any other non-linear editor is to change the dpi to 72. Call me old fashioned, crazy, or even superstitious if you want to, but then if the app does start to get flaky I can immediately rule that out.
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I will second that advice. We just rented the Playback Pro for a live event and it worked flawlessly. We were playing back 720P HD ProRes off of firewire 800 drives. Saved a bunch of time not having to make tape masters.
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I assume that you are using the program or transport stream presets. If you accidentally used the MPEG 2 settings for DVD there will be no audio muxed with your movie.
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That’s the problem .stap files on the timeline. Good to know going forward.
Thanks!
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I’m guessing that the one camera was not shot at the same framerate as the other two. I would double check all clip properties and look for a difference between the one’s that play correctly and those that are not. There’s got to be a discrepancy somewhere.
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In my experience, machine control with firewire is not consistently frame accurate. If you’re off by a couple frames, well that’s about as good as it gets. Some on this board my claim frame accuracy with FW, but I’ve never seen it.
Also beware of audio pops and crackles when using FW to master with the AJ HD-1400. It was a known issue a couple years ago and I’m not sure if it was ever resolved.
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It sounds like you’ve done your homework and I really don’t have much to offer but this. I had this problem about a year ago and found that the only way I could get a particular project to open was launch it on the oldest system we had (legacy G5). It was an old project and for some reason it would not open on a newer version of FCP. If you DO get the project open. Immediately create a new project, drag everything from the old project into the new project and save it. That project (at least for me) then would open in newer versions of FCP. Good luck.
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Thanks…what would be optimal would be just one customized button that when used goes to the next mode. But I can live with giving each mode it’s own key.
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How bout a little more info. What’s your footage shot on? What codec are you using?
If your subject isn’t moving around to too much. The first thing I would do is put a garbage matte around it so I can tweak my key for a much smaller area. That may help you out.
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