Guy
Forum Replies Created
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AJA IO or IO LA could probably handle photojpeg.
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Use media manager to recompress your footage as DV onto the firewire drive and your done.
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It’s never been bad enough on the footage I’ve used to bother bluring it. I have seen footage where the twitter is very obvious and looks bad. Anything with very thin contrasty lines will flicker pretty bad on a CRT. I don’t think the twitter shows up on LCD TVs but I’m not sure. If I did blur it would only be certain scenes. If you need to blur the whole timeline you should just shoot interlace.
BTW You should probably always use interlace if you are shooting actual interlaced footage.
Another reason I like to shoot progressive is that if you need to up res to HD I think the extra detail would help.
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It depends on what you are shooting. Progressive is higer resolution but can give you the twitter on things that have high detail or contrast. I usually prefer to shoot progressive. It is possible to add a slight vertical blur in post if you find the higher res looks bad on interlaced displays. Definetely do some tests. If you are hooked up to a good monitor you can clearly see what happens as you switch back and forth.
BTW Get the Goodman’s guide(It’s free if you bought the camera new).
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“find all” is your friend if you aren’t using it already.
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Basically, I selected all in the timeline and then dragged the new angle into the viewer, selecting “Insert new angle affiliates.”
They added this super essential feature in the 5.0.2 update.
The following is from the “What’s New” PDF:
https://manuals.info.apple.com/en/Final_Cut_Pro_5.0_lbn_z.pdfWhen you insert or overwrite an angle in a multiclip in Final Cut Pro 5.0, only the
current multiclip is affected. In Final Cut Pro 5.0.2, you now have the option to insert an
angle into all multiclips affiliated with the one you are currently inserting into.This
option makes it easy to insert a new multiclip angle into many multiclips at once.This
can be useful if you already have an edited multiclip sequence created by switching
and cutting, and you want to add a new angle to all of the multiclips in that sequence.
Note: For more information about inserting and overwriting multiclip angles, see the
Final Cut Pro 5 User Manual,Volume II, page 271.
For example, suppose you have a sequence that contains a multiclip that has three
angles (camera A, B, and C), and you have performed several real-time cuts between
the angles. Each time you cut to a new multiclip angle in the Timeline, a new affiliated
instance of the multiclip is created.The Insert New Angle Affiliates option allows you to
easily add a fourth angle (for example, from camera D) to all of the affiliated multiclips
in the Timeline at once.I think there needs to be another feature that would let you re-sync angles within all affiliated multiclips.
I ws originally looking for something akin to After Effects where you can replace the media file but keep all of your keyframes, effects, etc. I didn’t really see anything like that in FCP unless I am missing a hotkey somewhere. I’ve only been on FCP for a few months coming off of years on Media 100, so that is entirely possible.
Check out “reconnect media” it’s kind of like “replace footage” in AE
Do all your clips have matched timecode?
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I use 400 gig Seagate drives from zipzoomfly.com. $220 each
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it actually screws with the image due to the different aspect ratio of the 2 file types.
UC 8bit is the full 1280×720 where as DVCproHD is 960×720Have you tried looking at the picture with “view as square pixels” turned off?
I wonder if you would still see the problem. What it sounds like to me is that when the image gets scaled to the correct aspect ratio in FCP the chroma is not getting scaled well. But if you are outputing with a Kona the Kona would handle the scaling coming from the video outputs(if you are using a DVCProHD timeline). You would still see the bad FCP scaling if you put DVCProHD into an uncompressed timeline like you say because then FCP is doing the scaling internaly. -
Have you tried dropping native DVCProHD into an 8 bit uncompressed timeline and rendering? I would guess it would acccomplish the same thing?
Our film takes has a lot of scenes in one room with red / pink hued walls. The DVCPro HD codec is not very happy with that color when I start color correcting, it gets very blocky and some vertical banding starts showing up. By coming in at 8bit uncompressed, the blockiness and banding goes away.
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