Jason Porthouse
Forum Replies Created
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Tom,
It was in Compressor with a self-contained QT, not from FCP. Good thought though.
Anyone else experienced this??
Jason
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Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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[Arnie Schlissel] “Plaid. Plaid bad.”
Yeah, but that’s just a taste issue. Add flares and wing collars to that too, along with big sideburns. Especially for women.
J
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Maybe we should have a ‘Ask Bob’ forum especially for him. You know, one with a disclaimer at the beginning… ‘Users should be advised that ANY dumb questions will be met with Bob’s own brand of ‘tough love’… you have been warned.’
It’d be like Oprah for FCP users. Only uglier.
JP
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Lisa,
You should digitise the rest of the material in 2 channel mono, as the rest of your footage is.
Assuming the sound/camera op was consistent, choose the channel most appropriate for your shot. For instance, if I have an interview with tieclip on ch1 and on-board on ch2, I’ll never use the onboard mic. So I’ll load clip in to viewer, go to the A2 tab, mute it (level all the way down) then pan A1 centre (if it’s not already). Then whilst editing I’ll only ever cut V1A1 in to the sequence.
If it’s a tieclip and a boom, and the difference is less marked, I may cut both audio channels in. For ease of use I may then mute whatever one I think is worse – but keep the clip in the timeline. This I find particularly useful if going to a dub, as it gives the dubbing mixer an alternate that may be better for their needs.
So your selection of what goes in to the finished film is made really at the cutting stage. I’m assuming that you use the clip to viewer>mark in/out>cut into sequence method rather than dragging clips to the timeline – I think you have better control over track assignments this way (though I may be wrong). I rarely use stereo clips (unless recorded as such) as they’re a PITA to un-link of I need to delete one or the other.
HTH
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Why do I need a black burst generator?
*ducks*
tee hee
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Better brains than me have ventures to suggest that the Harding test is an absolute con… and I’d be suspicious if your failing twice in different places. Check that you’re not having any transfer issues when you’re laying off to DigiBeta. If you’re confident that the tapes are identical in the area that failed on the second pass have a word with the testers.
Other than that, failures are often just about luminance extremes, and some can simply be cured by clamping the luminance – so if you’ve a flickering fire scene then taking that down so the flames are maybe 60% may well cure it.
The kit for the test is about £12k… I heard recently that there are plans for a software version. It’s going to be… around 12k. It’s a license to print money, and I’m not sure of the efficacy of the test at all in terms of stopping seizures. If someone came up with a plug-in that would mimic this test accurately then they’d make a mint – OK, you wouldn’t be able to use it for ‘official’ clearance but you would at least be able to check before taking it for the ‘proper’ test…
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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[Ian Brown] “1. Being lazy, in the ten minutes of testing I have done so far, I have simply chosen File>Export>QuickTime Movie before authoring. Will I really get a noticeable improvement if I use Compressor instead ? “
OK, I see what you’re doing now. You can do this – DVDSP has an encoding engine (I think it uses Compressor) and for simple stuff it’s fine. Taking the QT you export in to Compressor, then using one of the presets to make the necessary MPEG-2 files *should* yield better quality, but maybe not noticeably so. You’ll have to run a test.
As to Pro Res – HDV isn’t a great codec for editing. IMO it is a good enough acquisition format, but as soon as you add graphics, effects or any serious colour correction the combination of narrow colourspace and heavy compression quite quickly introduces artifacts. My workflow would be this:
Ingest and cut HDV. When picture locked, make a new sequence. Go to Sequence>Settings. Use the Sequence Preset button to choose Pro Res 1080 50i. I wouldn’t bother with ProResHQ. Then, select all clips in your HDV sequence (lasso tool or apple-A), copy them, switch to your ProRes sequence and paste. Check all clips, graphics etc are correct, render then export. To save space you could uncheck ‘Make Reference Movie self contained’. Use that in DVDSP, or run through Compressor to make the MPEG2 assets for your project.
HTH
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Lisa,
Select the sequence you’re working on. File>Export>XML… you should be able to choose what type. If you’re both on FCP6.03 then you should be able to use XML4 without problems. Save XML to desktop (or wherever). You can then mail this to your Berliner and vice-versa – importing is same (File>Import>XML) but you may have to re-link media. Shouldn’t be a problem.
As always, TEST TEST TEST!!!!
HTH
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Ian,
I would definitely shoot HDV – seems pointless and retrograde to have an HD camera and shoot SD. Then, as far as workflow goes, you need to test. You may find ingesting SD via the cameras downconvert better than editing HDV native and converting in compressor, but I doubt it. I’d be inclined to edit HDV native and only go to SD in Compressor before authoring in DVDSP. You won’t lose any space and you’ll have your HD edit for a later date should blu-ray become affordable. The only thing you may want to do is go to ProRes after you’ve locked picture, before exporting your QT. You’d need to render your sequence but this is likely to be faster than conforming HDV, and any graphics or animations you’ve included will look a lot better.
HTH
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*
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Hi Lisa,
I’ve done a similar thing, but a slightly different workflow for a number of reasons.
By all means send projects to and fro – but I would consider sending sequences as XMLs. I’m assuming at some point you’ll have identical media and so you’ll be able to send each other sequences at will and relink to the identical media on both drives. I think that sending XMLs is safer – less chance of project corruption and less of a headache with regard to versioning. If you do send projects, then consider making a new project for just the sequence you’d send, rather than the whole shebang. Naming sequences and projects with a date stamp will keep some sense of order too. BTW, if you go down the XML route then avoid using ‘/’ in any clip name. For some reason XML doesn’t like this and won’t recognise the clip on import. Finally, created dated backups regularly, say at each major project junction – the finish of a rough cut for instance. Back these up separately to your daily backup and between you you should never lose anything… *crosses fingers*
You could edit off the FW drive as far as speed goes, but you’ve no redundancy. Personally I would copy it to my raid and edit from this so I have a backup – not as elegant for relinking but you’ve got security. If you’ve created a logical file structure on setting up then it shouldn’t be a problem.
HTH
Jason
_________________________________
Before you criticise a man, walk a mile in his shoes.
Then when you do criticise him, you’ll be a mile away. And have his shoes.*the artist formally known as Jaymags*