Jon Smitherton
Forum Replies Created
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Thanks Dale, I’m sighing with relief…
now all we need now is a hack for opening FCP X projects on FCP 7 then we can export an OMF…then we’re in business.
Jon
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[gary adcock] ” https://automaticduck.com/products/pefcp/“
They’re not expecting us to shell out 495 bucks just to get OMF export are they Gary? …Gary?!?
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‘It makes perfect sense for what Apple is trying to achieve. ‘
But the thing is the kids use it because WE (the pros) use it and teach them how to use it…otherwise well…we wouldn’t!
It does have ‘Pro’ in the title.
I would pay twice that much for these blatantly obvious inclusions…coz hey it’s my favourite program, what I use all day, every day and I DO like the look of the new features, but now…I can’t use it after all this wait.sorry for rant, but hey Apple has to hear this,
Jon -
OMF
XML
EDL
Multicam -
and NO OMF and print to tape….start swearing til Steve himself hears. They might as well have said ‘sorry we don’t care for professionals just youtubists’.
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Ok. I suspect that it is indeed the camera.
You could try denoising the shot in After Effects (reduce grain), use Neatvideo or using the Foundrys Furnace in FCP:
https://www.thefoundry.co.uk/products/furnace/
can’t remember if the trial is demo with an ‘X’ through it or fully working.
You could try crushing the blacks to get rid of the graduation of the compression artifacts.
If the shot is slo-motion – instead of slo-moing in FCP you can get a smoother effect in Compressor using Optical Flow.Good Luck!
Jon -
Ok. You still haven’t said how this image was created. What camera? I have seen this type of compression artifacts with DVCPro50 cams. Is it just this shot? You need to tell us your source and whole workflow.
Jon
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ooh pays to search!
https://forums.creativecow.net/thread/2/1000639#1000645 -
Hi Martin
The Watchout system either uses Mpeg2, Sorenson or AVI codecs (though this may have changed – I haven’t used it for 1.5 years) – both are ‘Lossy’ codecs and are prone to artifacts.
It could be a problem of the source (like Raphael suggests) or also could be there encoding issues.
Best to backtrack the production method –
Visit the prod co’s edit suite and see if it exists there on their broadcast monitor and computer monitor. They are better to deliver an Animation codec quicktime (as this copies to Watchout on windows better) and leave the encode to the Watchout operator.If this is fine – which the prod co’s says it is – your encoding method is at fault. If using Mpeg2 or Sorenson get them to do a double pass encode. As I say, haven’t used it for a while – it all should be detailed in the watchout manual of which is the better compression method.
https://www.dataton.com/watchout#If this is multi-screen there are custom dimensions for Watchout – and the prod co should be delivering to this spec – ie a quicktime movie the size of 5192×768 for 4 screens if I remember correctly. How many screens are you doing?
Good Luck
Jon -
Many thanks Andy for clearing that up – So one or the other or an effect if so desired.
“What is this “2 clips comped trick” you speak of?”
Duplicate a clip and place it above the original in the timeline, so the original is on V1 and the duplicate is on V2. Use the De-interlace filter on each clip – set one to de-interlace the odd fields, and set the other to de-interlace the even fields. Then under the Motion tab, set the V2 clip’s opacity to 50 percent.
Might prove cumbersome on a long timeline when onlining…pays to shoot to the deliverables!
Cheers
Jon