Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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Are you posilutely absitively sure you downloaded Resolve Lite for Windows?
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Eric Hansen] ” i wouldn’t blame Apple.”
Oh, but I do.
They are the reason I have a Cubix adapter, and I lost eSATA functionality, because I needed to slot in my 4-lane ATTO interface… its not for the lack of one more slot; its a bigger problem than that.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rohit Gupta] “get an external SDI to HDMI converter.”
There is that option, ie. HDLInk, which isn’t a bad idea, as I also use it as an SDI audio disembedder, but it is galling to have to pay more to implement a video stream that already exists, but is inaccessible because of Apple hardware shortcomings.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Yes, sadly you cannot sub-group tracks to a submaster fade. FCP is a so-so video editing application, and a poor audio mixing solution.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I make my own BluRays, more or less from the FCP timeline and maybe a supplied ac3 from a mixing house.
You can also send a ProRes master, HDCam, or whatever a mastering/duplication centre prefers. Generally, Compressor does a reasonable job, picking H264 for BuRay stream, that will create the video component for an authoring application. Encore has been working quite nicely for awhile, but I still export .iso disk images, either to burn out of Toast, or to create Primera DiskPublisher jobs so I can blast out up to 20 at a go.This approach allows the option of sending a fully authored and QA’d disk or .img as a data BluRay/DVD to a duplication facility. Not that there are a lot of places that do this kind of work, that is, not A-List feature distribution.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Well, I can see we have jumped all the way back in time to Tracy Chapman… but…
the ‘jumpiness’ you are seeing is a result of the frame jnterpolation that DSLR Long-GOP will push into your footage. FCP/COLOR especially does not play nice with Canon H264.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Never used the Smoothcam filter in FCP.
It is derived from the SHAKE node, which I own and use continuously — the degree of control is orders of magnitude larger. There is also a stabilizing function in many other applications now — MochaPro, Resolve, the list goes on… all of which give you more strings on the puppet.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rafael Amador] “When going 29.97 to 23,98 the only thing needed is to drop some frames.”
I was going to jump in with a big “whoa there!”, but the discussion has progressed.
Correctly, you both have come to the conclusion that you need to make a choice. In this case, going from original 29.97 to 23.98 is not at all straightforward. No, the math does not work out, and the choice will be between spatial and temporal resolution.
You will either end up with a quickly achieved, but compromised, output, or a slow, but high quality result — if you choose a software process. Find someone with a hardware processor if you need “Fast” and “Good”, but “Cheap” may not be available, as per usual.
I seem to be doing frame conversions on a regular basis now. (Have Teranex, will convert.) So, in this case, having built it, they are coming.
Alos taken aback somewhat by the relative ignorance about frame rate that so many digital camera operators are exhibiting, but its mostly confusion about what the camera is producing and what the recorder is actually putting in the file.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[jonathan young] “or just the regular original SD setting? I was thinking not ripping them in a HD setting because it’s no use the original videos are SD all I would be doing is creating a bigger video file but with no better quality.”
Right answer, give yourself a check mark! Frankly, the pillar box is a stylistic choice that doesn’t really make that much sense.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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You have a bit of a problem.
First off, there is no way that your source media happens to be 23.98, but you edited on a 29.97 timeline? That would be a slight improvement, but you probably still wouldn’t like the solution were that the case.
If your source footage and edit sequence are 29.97, then there really aren’t that many alternatives.
Option A. Find someone with a good hardware Frame Rate Conversion solution, like a Teranex or equivalent.Option B. Do a software frame rate conversion. If you choose “better” in something like Compressor, and convert from 29.997, the results would be okay for HD broadcast, but may still be questionable for a DCP theatre release. Expect the conversion (for a feature-length project) to take about 3 or 4 days. The difference between “Better” and “best” is not that large, but the render time is x10. So allow a month. (Do it in 4-5 reels, because your Mac won’t run that long on a single task without crashing.)
Option C. Ask if you can deliver a “SMPTE” DCP, which can tolerate 24, 25, and 30 fps framerates — but that is a pretty new approach and is not yet universally accepted.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.