[Jason Porthouse]

Chet,

This vexes more editors than just about anything I know.

Read Michael’s post carefully, and play with the settings for a while -it gets easier.

With SD footage, there is only one frame size for NTSC (720×486) and one for PAL (720×576). Within that frame size you have 4:3 (looks fine on a 4:3 monitor) and 16:9 (looks ‘Squished’ – BTW I think this should be a universal technical term – on a 4:3 monitor).

The ‘Anamorphic’ flag on your bin view tells FCP that the *clip* is anamorphic (‘squished’) or not. The button on your sequence settings tells FCP whether the sequence is anamorphic or not. It doesn’t affect the frame size, merely the aspect ratio – effectively saying ‘take this footage at 720×576 (PAL) and display it as widescreen’ – stretch it out in other words. Simply put, it does this by interpreting each ‘pixel’ as oblong instead of square, so although there are still 720 of them across, they are wider, hence appearing as 16:9.

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*

[Jason Porthouse]

[I need help…] “The HDV sequence is upper field dominant and the sd is lower field. It doesn’t appear to
be the issue, but I may be wrong. Should I set my sequence to no fields?

Anyone have useful hints when working with HDV footage that is destined for sd broadcast… “

AG,

forgive me if I’m stating the obvious, but your SD sequence will only be Lower First if it’s DV. If you’re prepping for broadcast, are you really delivering DV? If not SD uncompressed should be upper first AFAIK…

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*

[Jason Porthouse]

Excellent!

Thanks Martin, that’s a great help!!

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*

[Jason Porthouse]

Frederick,

This is not uncommon – I’m working on a heavily subtitled doc and am running up against this phenomenon. I think I remember reading that there’s a buffer for the max number of titles and when you hit it, you need to render. I haven’t found a way around it yet.

BTW, I can wholeheartedly recommend DH_Subtitle filter from Digital Heaven, though it may be a bit late now you’ve done a lot in title tool.

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*

[Jason Porthouse]

[Geralyn Abinader] “However if we continue along this line, I guess I’ll use anamorphic? or I guess I could use HDV and work with a really crappy image.
“

Geralyn,

Your methodology is a bit screwy here. Personally I’d go for editing in HDV – it really is no more onerous than editing in DV, apart from the monitoring – you can’t get HDV over FW for monitoring as you can with DV. You’ll need some sort of capture card (Kona, Blackmagic) or gizmo like the Matrox MXO.

If you have to edit DV, you need to do some basic prep – check your DV dubs have identical TC, and log really well – especially around TC breaks if you have any. Use DV easy setup, don’t try putting DV in an HDV timeline. When you’ve got picture lock, use media manager to create a new project and then re-digitise in HDV. Assuming your DV dubs are anamorphic and not letterboxed, use anamorphic and edit widescreen. If they are letterboxed, edit 4:3.

Whatever way round, if you cut from the DV dubs allow yourself a little more time for the ‘online’ and you should be fine.

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*

[Jason Porthouse]

Tim,

If you haven’t already, take it to an independant engineer. Make sure it is the tube. If it is, and the rest of the monitor checks out, I’d fix it and wither a) use till it dies or b) sell on with a new tube and a fresh service.

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*

[Jason Porthouse]

[rocco] “Always hold it a little longer on the Director’s wife”

Can you be more specific? Hold what, exactly? And where?

😉

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*

[Jason Porthouse]

Shane,

Do you have experience of the quality that this produces? Now that i’ve established that it can do it, I want to know how well before I put down my hard earned cash…

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*

[Jason Porthouse]

[Jason P] “I think you should, with an internal SATA drive, manage at least two.”

Oops, meant to say ATA – but as long as they’re fast ones it will still hold. DV data rates are not onerous. One more thought – always worth making sure FCP is using the correct drives for storage and playback. Check your System Settings for drive assignment.

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*

[Jason Porthouse]

Jason,

I cut HDV and DV regularly on a dual 2Ghz G5 – I get maybe 2-3 tracks of realtime before I need to render. This with a G-SATA array. It still has the standard GFX card.

I think you should, with an internal SATA drive, manage at least two. So, as others have stated, check your sequence settings carefully. If your editing DV, use the easy setup for DV. Make sure the sequence matches your footage. Make sure Unlimited RT is on, and you aren’t in Safe RT mode. As others have stated, your problem is not the GPU or RAM if you’re getting a red render bar – especially if it’s just putting a clip down. Single clip with red render bar means a setting mismatch. If it plays OK but needs rendering as soon as you put an effect on, then I’d go for the Unlimited RT being off.

I think the system I edit on has about 4 gigs of RAM. More RAM is ever a bad thing, but yours should be fine on what it has. Get that sorted first before you throw money at it!!

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*