[Jeff Greenberg]

The big questions (for me) are:
What are your render settings in AE?
What is your import in Avid?

AE: If you intend an alpha: QuickTime, Animation
Avid: Import 601/709 color space

There should be no change in bars.

Best,

Jeff G

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

[Jeff Greenberg]

There isn’t anything (that I’m aware of) that does this. I’d try moving the prefs (not trashing them) to see if it fixes this.

Best,

Jeff G

[Jeff Greenberg]

DNxHD is only an HD codec – your stuff is all SD.

You want it perfect? All of these are generally the same:

Avid Uncompressed 1:1
QuickTime Uncompressed
QuickTime Animation
AVI uncompressed

Advantage of storing it as Avid MXF files? You can pop it into an MC and go
Everything else will permit use in other editorial tools.

It’s VHS and truthfully, nobody will notice? If you’re comfortable with using Avid’s Codecs, which should be around for a long time – you could probably get away with 3:1 or 2:1 and never see a difference.

Best,

Jeff G

[Jeff Greenberg]

It’s hard to say – it’s a better analogy to run the bitrates against uncompressed HD, rather than each other. Running a distribution codec (despite it’s use!) compared to an editorial codec doesn’t have a straight direct translation.

As Craig pointed out:
It is important to understand that h.264 is a long gop VBR codec.
It’s also important to understand that ProRes is an VBR I-frame only codec.

Uncompressed HD is around 880 mb/s
So, the 7d is running around 48mb/s – about a 20:1 compression
ProRes LT is about 100mb/s; about an 8:1
ProRes 422 is about 140mb/s: about a 6:1 compression.
(I didn’t look those up – I’m sure they’re off – but get us in the ballpark)

You’re not going to make a ‘huge’ gain to go to ProRes 422. A gain? Sure. A gain you can see? Questionable. Additionally, you’ll get some forgiveness with projection.

If I intended to do lots of color correction and compositing, yeah, I might choose ProRes422 over LT. If system performance or drive space is any level of an issue? Then LT.

Best,

Jeff G

[Jeff Greenberg]

Can it be opened in QuickTime? It sounds like you don’t have the codec installed. What was the specific camera?

Best,

Jeff G

[Jeff Greenberg]

If it’s not flickering during playback in FCP when viewed on your camera LCD screen, then it’s a normal artifact of interlaced video.

Just to 2x check – when you play the video and final cut and view it on your camera’s LCD screen, it’s fine on the LCD but not in FCP.

“Monitoring” refers to viewing your video via an output device (firewire/hardware card)
The Canvas monitor is *not* truly meant for you to evaluate your video.

Best,

Jeff G

[Jeff Greenberg]

No idea (to be honest) of what’s causing the problem.

Two ideas to try and reduce it.
I’m guessing that the moments with the wind may have some audio peaking.

One – could you try a compressor on your audio to minimize the dynamic range?
Two – could you try dropping the overall level of your audio output.

Best,

Jeff G

[Jeff Greenberg]

There’s your problem. You can only output inside of a DV-NTSC sequence and no, changing the codec doesn’t do it right.

CMD-Shift-N – create a new sequence DV-NTSC.
Drop your DVCProHD sequence in that.

You should now see output on your camera and be about to output to tape

Best,

Jeff G

[Jeff Greenberg]

Is your sequence a DV-NTSC sequence or something else?

If you can’t see the playback on your handycam – it won’t output. I suspect you might have some mismatch – maybe you’ve tried adjusting the compression settings or something else under the sequence settings; I’m not sure. The symptom (still frame shows up, sound shows up, but playback does not work) usually means this.

Best,

Jeff G

[Jeff Greenberg]

You can reach me at my name at mac.com – I’ll give you an idisk folder and look at it.

Best,

Jeff G