[James Carl]

>Marcie is looking into my case, but without legally proof of when I sent this package, it’s my word against Marcie’s.

From my own experience with Apple, if you pursue this and talk to many people at Apple you will eventually find a sympathetic person who will make this right, provided you really did send it in before the 19th. It’s one of those karmic things. It’s been work, sometimes a lot of work but Apple is one of the few companies that has great escalation people who really listen to their customers. The hard part is dealing with the “Marcies” until you get to a top level person, who knows the difference between a customer who has been wronged and a bullpooper.

Good Luck

[James Carl]

1280x 768 15:9 on the BT-LH1700W

and

1366×768 16:9 on the BT-LH2600

Wouldn’t it be neccessary to have 1920×1080 for critical mastering?

[James Carl]

>somewhere in the sequence settings there is a setting
>for motion quality to be fast, good or best.

I found the setting in the Audio/Video Settings -/ Sequence Preset Editor -/ Video Processing tab.

I see that I can select “Best” in the Motion Filtering Quality drop down box.
Also I can select render all YUV material in high-precision YUV

My question is, will these settings work in the exisiting project once they are changeed or do I have to do something, to bring everything into a new project?

[James Carl]

I tested DVC ProHD and found it diminished the quality of our original HDV. We were going out to a 35mm print so we needed to hold on to every bit of quality. We went from FCP editing HDV native out to a D5 master. Worked almost beautifully except for 2 unrendered dissolves that we had to insert. The render times were a pain as we edited but it saved us a lot of money for the raid and card to do uncompressed which would be the ideal.

If you do cuts only, then editing in HDV would work beautifully. My experience is that it saved us detail we would have lost going to DVCProHD. Our tests also showed that AIC looked better than DVCProHD which everyone has said doesn’t make sense but it did.

Media Manage the final edit with large handles and you are set to go direct to HDCAM or lossless with only 20 min of material.

Your mileage may vary but it is worth doing a test with a short clip and examine it yourself at a friendly post facility.

Please post back if you do a test.

Good luck.

>a) edit HDV native with cuts only. export the project to Uncompressed 8 bit (i think I can do this with the media manager, in order to keep the project w/ reference to the HDV Timecode.. but since it’s mpeg2, I doubt it will remember it properly. Master the project in Uncompressed, and do all efx and color correction in HDCAM timeline and spit to tape.

[James Carl]

Thank Michael,
I’ll give it a try and report back.

I also remember After Effects allowing me to pull fields out, but it’s been a while so I will look into that too.

David,
I will mention cross posts in both places in the future.
Thanks

[James Carl]

Thanks Joe- peace of mind at last!

[James Carl]

Thanks but their link is no longer working.
I just updated to 5.1.4 and I am wringing my hands.

>”Is there a way to get the 5.1.2 upgrade from Apple?”
>
>Nope…once the upgrade is made available, the older ones are pulled. Red Giant offered it up for >download when FCP 5.1.3 broke their plugin. I think it is still up for grabs:
>
>https://www.rgsupportzone.com/goingbackto512

[James Carl]

I am looking all over for a way to get back to 5.1.2 .
I re-installed my 5.1 but I can’t locate the upgrade to 5.1.2.
All I see on Apple’s website is 5.1.4??
Is there a way to get the 5.1.2 upgrade from Apple?

[James Carl]

Thanks Daniel,

Still trying to understand why the vertical resloution would drop unless it is line dubling half fields?

NAB hopefully will have some new announcements in the lens dept.

[James Carl]

Another option.

https://www.filmout.com/

These guys have been awesome on our projects.

Their software works great even with 60i projects going to film.

Cheers