Marcello Mazzilli
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Instead of converting, try just re-wrapping. Is faster and you’ll lose no quality. Try CLIPWRAP software.. It will rerap m2t footage to mov footage (keeping m2t format inside). It might be easier for AfterFX to work with it.
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
This is a must…
There is also some history… but this is really a classic
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
If it costs more than 200$.. I’d just use a second consumer camera through USB2
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
Downconversion should work good on any software. If you have some problems here I should check my workflow. Usually going down from HD can increase detail.
Having said this I should always shoot and edit in HD when possible. Obviously if you are doing things for the web and you need to work fast in the editing etc… Ok .. shoot in SD. But to me is just a matter of speed. If you can afford a realtime HD workflow (so you have no time differences in shooting in HD, capturing footage, editing and rendering) I’d just go for HD
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
While I cannot help you with a title.. I can understand your question… There are situations where you can almost get a “rule” although these are somehow related with history. Taste evolves.. and cutting a video today is much different than doing it 10 or 50 years ago. Here follow some basic general rules.. just to understand if this is the kind of info you are looking for. Then maybe somebody else can help you to find a title…
1) To following clips need to be substantially different. If they are to similar.. it looks wrong
2) If you are cutting while an actor moves an arm is better to cut just before or just afterwards and not while he is moving
3) If two people are speaking you can cut audio and video in different points to make a softer cut (so video switches to the second person while the first is still speaking or after the second has allready started to speak)etc…
Is this the kind of info you need?
I’m sure there are plenty of books with this kind of things.. but the best thing to me, as somebody said, is to try for yourself and understand from “mistakes”. Also please remember that editing video is not mathematics and it will probably be more often going “against” the rules than when you follow them
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
If you send 50i (or 60i) footage to a flatscreen it has to do in-frame interpolation (between the 2 fields) but also in-time interpolation (it creates a new frame in between two normal ones). It works this way. Good (all new) LCD TV sets use a special algorithm to view in progressive (they are all in progressive.. there is no interlace on flat screens). Let’s say your footage is made by interlaced frames in this way: 1U1L, 2U2L, 3U3L, etc… What they do they transform it to i(1U1L), i(1L(mU)2U(mD)), i(2U2L), i(2L(mU)3U(mD)), etc… To explain better.. They create 50 frames out of 25 (or 60 out of 30) by creating in-between frames using the lower field of the first frame but mooving it up and the upper field from the next frame, but moving it down.. and then they interpolate the two fields. This means that a 50i DVD stream on an LCD has single frames that have a quality of a normal interpolation from 50i to 25p but they are 50 and not 25.
If your DVD is progressive (25p or 30p) the flatscreen just shows what you are sending.. with no in frame interpolation and no in-time interpolation.
So… if you have interlaced footage to start with… whatever you do… the final quality of the single frame (ie in stop motion) comes from the interpolation of the two fields.
If you do the interpolation before (when you export) you will find yourself with a 25p (or 30p) stream. This will give a “film look” (thus less frames) but will have the advantage of controlling this interpolation. You might find that some software is better than others and, being something YOU control, you can take all the time you need to do your tests, etc…
If you output interlaced (thus not interpolating) you’ll leave this job to the flatscreen. The advantage is that you’ll have more frames at the end (double) and so you’ll have a “TV look” but you’ll not be able to control the quality of the interpolation because it will be left to the flatscreen to do. On some older models you might even risk a double frame creation by field duplicating and not by the process I described above.
Obviously the best thing for progressive output is to shoot in progressive. In this way the frame has a real full resolution and not an interpolated one. But I guess this is not the case.
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
After FX “doesn’t know” what you will need until you render.. so the best way of working is this…
1) Interpret correctly all your footage. You have to check that After FX “knows” what are the fields for each piece of footage. If it knows what fields does the footage have.. it will treat it accordingly. Also here you have to check size, pixel aspect ratio, etc….2) Do your editing regardless of fields or of result you need (progressive or interlaced, upper or lower fields)
3) In the OUTPUT settings in the render queue select what fields you want for the output (lower, upper or none). Please also note that for correct field output quality has to be good and not draft, and resolution has to be full.
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
When it comes to output.. the question is not if it is flat screens or CRT, but if it is for PC or video. If it is to be played on a PC you can render progressive. If you want to make a normal video DVD (no matter what monitor) then you can choose interlace or progressive. Modern LCDs have algorithms that from a 50i (or 60i) interlaced footage create a 50p (or 60p) progressive output. A viewer watching a video on a LCD screen will still notice differences between a 25p (or 30p) and 50i (or 60i) footage, keeping almost the same different look than when played on an old CRT monitor. So if you want the film look go for progressive, if you want a modern TV look (given just by the more frames involved) go for interlace.
I usually do the MPEG2 before going to Encore. I like to have an MPEG master to keep anyway (in case ie I do a show reel or something similar). I could in the other way too.. because MPEG2 renders from Encore can still be found in the project folder.. still I think the first method is cleaner.
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
When I have long repetitive jobs, where no actual creative effort is asked, I try to see it as a factory making a car. So I split up the jobs in even more repetitive steps until my job is more about optimizing, organizing, etc.. than actual editing. One day you separate the clips in bins (ie) and instead of editing the 1st video.. you go on and you do bins of all 10 hours. Then you level all the audios… Then you work only on the first layer syincing audio (or whatever) .. and before you realise it… you are at the end of the job.
It’s not very creative.. but it works.. and in these kind of jobs the client (or the boss) will never say “It’s to simple or to plain”.. he will just be happy to know it’s finished. Not always.. but once in a while is nice to have your mind empty for a few days… I like doing colour correction every now and then… At the end of a job.. after the client has seen (and asked me to change) cuts, scenes, coice of footage, etc… there is only that to do.. I take my time, eat snack, listen to radio (music or talk is the same) and relax. If I get a phone call is just a pause and I need no concentration to start again. Working all life like that is fu**ing voring.. but a few days a month.. it’s even nicesiRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com -
In these cases.. I always make a price for the event and the master plus a small price for every DVD (that includes box, printed cover, my time in recording it, etc).. So I would say something like… 1000 + 5 x dvd
siRoma di Marcello Mazzilli
Corporate video productions in Italy
http://www.siroma.com