Jeff Meyer
Forum Replies Created
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Similar to a chain being as strong as the weakest link, the components connected to the system bus are as fast as the slowest among them. Faster RAM will perform at the speed of the slowest component in the chain.
Connecting a 16 drive RAID-0 over a USB 2 interface isn’t any better than a 2 drive RAID-0 over USB 2, the RAM only needs to be as fast as the slowest component in the chain.
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Buy RAM that matches the bus speed of your motherboard/processor combo. Look at the highest bus speed your processor supports and the highest bus speed your motherboard supports. Make sure your RAM is at least the lowest speed among those two.
EX: Processor bus speed 1600, motherboard bus speed 1333, your effective bus speed is 1333, so make sure your ram is at least 1333.
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Might give it a go with uncompressed audio and see where you end up.
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This sounds like a task for the Media Manager to me. You converting externally?
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Kind of comes with the territory when you shoot with asynchronous sources. It may work sometimes, but it isn’t going to work all the time. Aside from doing a time stretch on the audio to create a uniform out point (which creates its own pitch issues) I’m not sure of anything you can do.
Being more consumer-prosumer oriented, FCX might handle asynchronous multicam with more proficiency. The multicam syncing based on audio is supposed to be pretty impressive. There’s a 30 day trial, so maybe you can give it a go and see if it can sync things up, and if its limitations are livable within your environment.
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Something to keep in mind – every time you change something away from the native settings you’re adding another step to the export process. Rule of thumb is the closer to your sequence settings you work, the faster the export will be.
If the footage is 24p and you export 15fps the computer now has to interpolate the motion from 24p to 15fps. This probably added more to your render time than anything else.
Scaling depends on the size you’re going from and the size you’re going to in terms of its potential to change render time. In general it’s best to leave it at the native size, but if you drop from 1080 to 360 it could help out. I wouldn’t go smaller than 640×360 – even for previews.
For my work I usually kick out a computationally simple codec (Animation, ProRes422, DNxHD, XDCAM50 – though XDCAM isn’t computationally simple I suppose) at full size, then I go to Media Encoder and turn my master into a web version at whatever resolution I need. Then I have the full quality copy already do, and converting videos in AME is fast.
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• Are you color correcting to Final Cut Pro’s Canvas or an external monitor going through a converter? (AJA, Black Magic, and Matrox are common manufacturers)
• After export, where are you noticing the darker video?
The skinny of it is video on Final Cut Pro’s Canvas isn’t finishing quality. If you want to undertand it fully* it would be worth reading up a bit about gamma. The main idea is to optimise the image we change how electronics interpret the signal, but we have to later apply a corrective, and inverse gamma shift. It’s the same idea as Cinestyle, you make the image look “worse” because after correction it’s better.
https://www.cambridgeincolour.com/tutorials/gamma-correction.htmThis thread details a similar issue:
https://forums.creativecow.net/thread/8/1077381* Beyond the gamma differences there are additional color space issues going on. HD video lives in Rec. 709 which has a luma channel and a pair of chrominance channels. Computers work in RGB, a channel for each of the three colors that make up the display.
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Put a second copy of the video you want to darken on V2 so you have two copies of the same footage. Add a garbage matte to the footage on the top to select the area you want to make darker (use a feather to make the edge soft) then use a 3-way color corrector to make that area darker. If the area is completely blown out it won’t work perfectly, but it could be on track.
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What connection type would you use with the Q?
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I’ll admit up front to having no knowledge of professional projection systems, but if it is a “VIP” screening I would be far more comfortable playing off of an AJA KiPro, or even off of a laptop using an HDSDI interface (play in Final Cut Pro over an AJA T-Tap, Blackmagic UltraStudio 3D, etc.) thank I would BluRay. BluRay is a consumer format, and it sounds like you have need for more stability than consumer gear offers. An added bonus to the KiPro or timeline plapyback would be avoiding MPEG2/MPEG4 compression from a BluRay burn.
The KiPro Mini would probably be the box with the most utility moving forward, and it’s affordable at under $2,000. It’s intended for capturing streams in ProRes/DNxHD from high end cameras or production switchers, but it also has playback over HDSDI/HDMI. This is all going on the assumption that you can push HDSDI into the projector, which I would assume is an option since BluRay is an option.
If you aren’t comfortable with this responsibility you could always hire a production company who handles events to roll up whatever they would use for playout. This could take some control out of the equation for you, but they’ll bring professional gear with them and provide a throat to choke if something goes wrong.