John Pale
Forum Replies Created
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Possible workaround for you…
You can drag the clip you encoded back into FCP’s browser…load it into the viewer…and then use the Modify/Timecode command to enter the correct timecode back into the clip.
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Kona does not do frame rate conversion.
You need to get it transferred at a dub house or use Compressor.
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My bad. You did include the pixel aspect in your screen shot.
Many of your clips are interlaced, so I would work interlaced.
But…I have not seen your footage at all…. If the progressive stuff is graphics, maybe it makes sense to try to work progressive all the way through. Maybe do some short tests to see if it holds up well enough.
If there is a mix of interlace and progressive, you will be compromising with some of the clips no matter what.
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Hope they are paying you by the hour…
And yes…they are insane.
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[Bob Zelin] “You will output your show. About 10 minutes into it, you will start to see channel error conditions on your Digi Beta VTR. If you monitor the audio on your Beta VTR, you will start to hear audio distortion, and ultimately your audio will disappear. “What the hell is going on” you will say. “
I can vouch for this. Happened to me recently. I gave myself the Zelin treatment for letting it happen.
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I only recommend Compressor because it is more of a tool for that kind of thing. It has presets that can help get you started, etc. AE is a compositing and motion graphics tool…but you certainly can do it in AE if you are comfortable with it.
I don’t think you actually said in the original posting whether your footage was progressive or not…or whether it was a mix.
For simplicities sake, if its a mix of interlace and progressive, I would just edit interlaced and just deinterlace in the final compression for the web. NTSC SD normally is interlaced so it might be easier to work that way with it. But if you want to work progressive, and know how to get all the settings right..by all means do it.
Don’t over think this. It usually gets you into trouble.
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Convert everything to D1 ProRes NTSC or 8 bit Uncompressed NTSC using Compressor.
Though you have quite a variety of formats, all of them are easily converted to NTSC D1 720 x 486. Compressor can handle the pixel aspects correctly if you know what you are doing with it. Might help to give the manual a gander if you are not up to speed with it. Its all in there.
You also might want to use Cinema Tools to conform the two 30fps clips to 29.97.Do not do the scaling in FCP, it doesn’t do a great job compared to Compressor or AE.
Do not try to edit all of these different formats in one timeline. Convert everything to one format. Unless you like being frustrated.
Export the final sequence as Quicktime, then use Compressor to create your web video.
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Use Disk Utility to repair permissions on your boot drive. Then try again. Also, examine the discs for any dirt or scratches…could be something as simple as that.
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Sorry for my earlier snarky response…just couldn’t resist.
For years Avid was considered the gold standard. It still is in many areas of broadcast and film production. If you absoultely need ProRes, you should stick with FCP. If you need a format for HD that is similar to ProRes, Avid has DNxHD, which actually was around before ProRes. Similar file size and compression ratios. It does not have anything like Qmaster or Compressor, for that matter. Avid has good chroma key…realtime on many systems, unlike FCP. Higher end systems, like Symphony have Ultimatte. With Avid, you cannot use 3rd party capture cards, you are stuck with their hardware only.
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I hear there’s this good up and coming product called Avid that does well for PC people…