Marco Solorio
Forum Replies Created
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You should be able to conform it back from 24 FPS to 25 FPS using Cinema Tools. Did you try that?
Marco Solorio | OneRiver Media
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In the FCP Browser window, go to the column that says Alpha. Switch between “Straight” “Black” and “White” by right-clicking it for that clip. Drag it back to the timeline. This should fix the problem.
Marco Solorio
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[jason levy] “We do cut approvals on the net and it takes a long time to burn in the time code in fcp.
Broadcasters need the TC to give specific notes.”
Well, since this is an OT post, I’ll give a slightly OT reply but with relevance. If you’re looking to encode video for others to view on the web for the purpose of timecode based notation, you might want to look into Media Batch. It’s an automated way to deploy/collaborate your media assets with others, one of which is the Media Batch FLV Viewer which is fully timecode based. It displays the timecode and the timecode can be completely offset to match a different source. From there you can add real-time marker points (hitting the “M” key like in FCP) which allows you to add notes to each marker point as well as *draw* on the video image for each marker point as well. It’s quite powerful. There are also other functions like aspect ratio compensation, dynamic resizing, true full screen mode (hides OS menu, etc.) and more.
So if you want a way to use timecode based notation for your video encodes, this could be a solution.
Hope this helps!
Marco Solorio
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[David Roth Weiss] “but the Moto”
When I just looked at the link with pictures, I thought to myself, “that looks like a MOTU product. They ripped off the MOTU name!”
Ha, it IS a MOTU product, LOL! Very cool. Very surprising. I would have never have guessed they would enter the video world. We have several of their hardware products in the recording section of my facility and have always been pleased with them. I’m still a MOTU Digital Performer fan as well. I have to say I really, really like the front and rear panel of this unit.
Will be very interesting to see what develops with this. More so, it’ll be interesting to see if they can match the years of video engineering expertise that AJA has so strongly built up. The audio portion of this unit should be strong with their audio background… and the visual feedback… just love it.
Marco Solorio
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Sanjay, if you’re looking to post FLV files to your website for clients to approve and such, you might want to check out Media Batch. It’s an entire media deployment/approval system that lives on your website, but one of the cool thing is its FLV Viewer. It’s completely timecode based and as such you can add marker points to the timeline in realtime. From there, you can add notes to each marker point or even draw on the video image itself for each marker point. It’s quite powerful but as mentioned is only one portion of the whole package.
The nice thing is you’d encode your FLV out of AE, upload it to your server and Media Batch does the rest. No coding or anything.
Hope this helps!
Marco Solorio
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[walter biscardi] “Render to the same codec you’re editing with. Anything else, FCP will re-render the files into the codec and then you’re double rendering.”
This is very good information to stick with. However, if you know you’re going to further render the animation in the FCP timeline (say you created a generic motion background and you’ll add additional layers in FCP) then you could stick with a 4:4:4 RGB lossless animation file. Since FCP has to re-render it anyway, you get a cleaner render since the animation is lossless as opposed to a 4:2:2 file with chroma filtering stacking.
If you do want to stick with a 4:4:4 RGB file, then Animation codec is probably your best best. There’s also the Sheer Video codec from BitJazz. It cuts the file size by about half and is very fast to work with. They have a free demo you can try out.
Marco Solorio
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Just to let you know raw Flash FLA authoring files wont work anyway… only published SWF files or FLV video files, which in of themselves don’t import directly into the FCP timeline last I checked. SWF files are easier to transcode than FLV files even though FLV files are video files.
Since FCP will need a QuickTime video, you might as well use the screen capture method as mentioned above instead of dealing with transcoding.
Marco Solorio
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We use multiple Dell monitors with a calibration unit we mount on the screens to calibrate them, which reminds me… we really need to recalibrate them! Standard profiles are good, but they don’t actually read what the monitor itself is outputting.
Marco Solorio
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[weevie833] “If you then export in the native codec to AE and composite graphics or whatever, then render in the SAME YUV-aware codec, the render should match the color/luma qualities of the original video.”
This is the root of the problem. Once you’re in AE, everything is processed in RGB[A] at 4:4:4[:4]. Keep in mind that native video files have characteristics such as super-white. Super-white is impossible to process in RGB since there is no white level above 255 (or 1024 for 10-bit). Once you hit 255, there’s no ceiling above that, even if you render in 32-bit float. RGB is RGB. No more, sometimes less.
So even though AE may render back to a native Y’CrCb, it may not hold some of the original values that the raw video file had in the beginning if the color-space values are beyond what RGB can process.
Marco Solorio
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[walter biscardi] “Makes you wish they would have just purchased the Aurora codecs and put them into the Studio package.”
LOL!!! You just sang my song, Wally! Funny, those codecs must be about 6 or 7 years old now and yet I’ve still never seen better. With all the stuff Apple buys, you’d think they would!
Marco Solorio