[Lance Copeland]

[Thomas Aschenbach] “This usually occurs because of extra audio samples.”

That was the first thing I looked at, but the audio came to me already mixed and is actually less than :30, Strange, but I’m not going to worry about it. If the guy says something about it again, I’ll tell him he needs to quit worrying about it too.

🙂

Thanks again for the prompt help on this one!

Lc

For every vision there is an equal and opposite revision.

[Lance Copeland]

[Shane Ross] “I never heard of this before you posed the question…and I have worked in broadcast TV for 12 years.”

Ok thanks.

I too had never had a complaint like that before in my 17 years. Frankly I never even thought to look at the time in the inspector until he complained, and sure enough it did say .03 over 30 seconds. Strange but I will take your assumption of the inaccuracy of quicktime and just keep doing my thing.

Thanks again Shane, I feel much better.

Lance

For every vision there is an equal and opposite revision.

[Lance Copeland]

[Rafael Amador] “If you need real accuracy, rely only on the TC.”

Will do, thanks Rafael.

For every vision there is an equal and opposite revision.

[Lance Copeland]

[Shane Ross] “Video doesn’t do microseconds”
Thanks Shane,

Can you explain to me why the timeline is exactly 900 frames and when I open the exported quicktime it says in the Inspector window that the duration is 0:00:00:30.03? The numbers after the “.” go up to 100 when they flip over the next second, so I wasn’t talking about frames.

I had a complaint from a broadcaster that my spot was “too long by 3 microseconds”, although now that I think about it he must have meant centiseconds, considering the location after the point. Whatever, I just need to know why this is happening and if there is a work around. Or at the very least, has anybody had this happen before.

Thanks,

Lance

For every vision there is an equal and opposite revision.

[Lance Copeland]

Thanks guys…It appears I have a lot of options. I will try them all and see what works best. I love creative cow, and appreciate all of you who have offered suggestions!

Thanks again,

Lance

For every vision there is an equal and opposite revision.

[Lance Copeland]

Cool idea…matching would be tricky but not impossible, especially if I go with a more stylized look, and cover up the transition from real blur to faked blur by a quickly moving camera. Thanks Jason! I’ll play around with that. It is a bummer that you can’t freeze the actual motion blur…Unless somebody knows some tricks for that. Meanwhile, I’ll give your idea a try.

Lance

For every vision there is an equal and opposite revision.

[Lance Copeland]

Thanks Jeff,

I think you are right…I’m already backing all the files up, so I might as well just start the whole machine over. Argh, I figured it would come to that, but I thought I’d ask. 🙂

Thanks again,

L

For every vision there is an equal and opposite revision.

[Lance Copeland]

Thanks again John,

Unfortunately I don’t have as much to do with the production end as I would like, just the post production. I agree with your opinion though and will be pushing as best I can in that direction. In the past they’ve always shot film, then I would get a stack of digi Beta tapes. This has worked very well in the past, but times they are a changing. I will be using the information you provided to push for skipping film, and working in HD from the start. They tend to think that the “warmth” is lost without actual film, but I disagree. Thanks again, and if you can think of anything else to support the arguement, links and such…let me know.

Lance

[Lance Copeland]

Thanks for all of the info John, I’m at the very beginning of my research into this so I really appreciate your advice. I’m wondering if such a breakthrough (MPEG4/AVC-I) is on the horizon, maybe we should continue to shoot in film, and just have it transferred to hard drives as HD. Then I could edit it in HD, and send the final commercials out on hard drives to be transferred back to HDtape in whatever format we need. Am I way out in left field or does that sound viable? Also, any idea how far the horizon is?

Lance

[Lance Copeland]

Thanks John,

Three distinct “standards”…Lovely. I’ll ask around and see what the are looking for in terms of format. What is Sony’s standard? The rest of my rack is populated with Sony and I’ve always had good luck with them.

Lance