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Jeff Greenberg
February 12, 2011 at 9:50 pm in reply to: Compressor Bitrate for HD Content?

[Joshua Heater] “Jeff, I have been looking for a start point (avg.) on h.264 blu ray for compressor”

Apple’s preset is a good place to start. If you’ve converted to ProRes at the beginning (and boy, I hope you have) the biggest issue, is the frame rate. Run a difficult (lots of motion) 30 seconds through the Apple Preset for Blu ray…and then up it by 10 percent to compare about the way it looks.

I’m hoping that you’re using SEND TO Compressor – if you’re doing this, great. Saving it out as ProRes induces another compression cycle. Compressor will ignore the codec of the timeline when it does it’s compression.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 10:49 pm in reply to: Imported media did not show up at canvas

You got it!

It checks for a match of the first clip of EACH sequence.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 6:47 pm in reply to: Roto-matte for FCP (Avid animatte)

Scott – I’ll give you my call on that – it’s an observation.

It’s something different. It’s not what someone is used to. The foreign environment feels like it will slow them down.

Of course, I teach quite a bit, so I see this sort of reaction from people.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 3:18 pm in reply to: Roto-matte for FCP (Avid animatte)

Only option? Yeah, pretty much. It’s pretty effortless though. Right click, send the clip to motion, draw masks to your hearts content, ‘save’ and see it updated in your FCP timeline.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 3:12 pm in reply to: Getting Quicktime Sorenson codec back

Just a footnote – if you don’t own the “pro” version of the Sorenson Codec, you’ll struggle with compression because there’s no VBR choices without purchasing the pro version of the codec.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 3:08 pm in reply to: How to import mp4, maintain HD, and export in HD

[Jake Ni] “what is the difference between 422, 422 HQ, 422 Proxy, 422 LT”

All are meant for some pretty specific uses – it’s based on data rate. The order of highest quality to lowest is:
ProRes 4444, ProRes 422 HQ, ProRes 422, ProRes 422 LT, ProRes 422 Proxy.

The ProRes 422 LT data rate is above the data rate of your raw footage and produces a nice quality/file size ratio. Going to ProRes 422, will essentially only make larger files.

[Jake Ni] ” have been trying File > Export > Quicktime Movie & Quicktime Conversion”

Is there a reason you’re not using Send To> Compressor?

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 3:05 pm in reply to: Having to render when dragging Prores Proxy clips to Timeline

[John Northrup] “I ingested clips from an EX1, and used the Sony plug-in in FCP to transcode them to MPEG2, since this seemed to be unavoidable”

Is there a reason you’re not using Log and Transfer with the sony plugin?

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 1:20 pm in reply to: compression yields artifacts

Wow, I have no nice way of saying this; you have a mess on your hands. I don’t know if it’s fixable ‘as is.’ I’m going to put the areas that are of concern to me; I hope it’s helpful. I think that the problem is you were mixing frame rates; and to fix it might not be worth your effort.

* 1. I received QT .movs from a camera shot at 16:9, DV/DVCPRO-NTSC, lower field dominance.
This makes it sound like you didn’t capture it yourself. This could have been handled incorrectly. Did you do it? Or did someone else?

*2. For newer material, I used our Panasonic DVX100A, shot in 24p advanced (progressive).
You’re now talking about mixing progressive material with interlaced material. In a 30i timeline this does different things than a 24 timeline. Generally, FCP is so-so at best at mixing frame rates in the same timeline.

*3 3. For newest material shot with 2 cameras (and because I didn’t pay enough attention, rental place gave me a DVX100 that couldn’t do 24 at all), was shot as 4:3, DV/DVCPRO-NTSC, lower field dominance.
You’re now mixing more interlaced material – and if you don’t want pillar boxing (black bars left and right) you blew up the footage.

So, after thinking about this for a bit, I’d suggest as a test, you send the most problematic footage to compressor and see how it looks. Please note – I didn’t say put it on a timeline, I said, send it directly to compressor. You can use in/out points to make the compressed job smaller.

Basically, what I’m suggesting is that you test the compression by taking the workarounds you (and FCP) have done, out of the picture. If you send the problematic areas to compressor and use the same settings as you did prior and it works, we’ve learned something ; and if it fails, you’ve learned even more. No exporting uncompressed movies – just Send To->Compressor.

This should take all of about 10-20 min (far less than I spent thinking on how to identify the problem.)

I suspect that your timeline settings (the frame rate), the mixing of different formats and your workflow (exporting and sending to compressor) are all parts of the problem; I want to boil it down to the simplest possible test and work our way backwards from there.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 11, 2011 at 11:58 am in reply to: Imported media did not show up at canvas

[Tony Lll] “So if I open a new project, will Timeline continue to use “that format” as its key format and work from there? Or does it start all over and work with the format of the “new first clip” in the new project? Thank you.”

You essentially have it, yes.

Final Cut creates sequences based on the Easy Setup (Final Cut Pro Menu>Easy setup.)
If the first clip hits the timeline and doesn’t match, it asks you to either change the timeline or ‘make’ the clip work. It will ask you this only for the first clip; after that, it assumes you made your decisions.
If you create another sequence – it’ll do this again.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com
Jeff Greenberg
February 10, 2011 at 12:56 pm in reply to: slow Motion with 24p?

Twixtor or Motion (with optical flow on.) Compressor with optical flow. Boris FX with Optical flow. Media Composer with FluidMotion.

Or in camera. Pretty much a bunch of software on the market has an optical retiming when it wasn’t shot that way.

Best,

Jeff G

Apple Master Trainer
Avid Cert. Instructor DS/MC
Avid & Color Videos Vasst.com
Compressor Essentials Lynda.com

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