Mark Spano
Forum Replies Created
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There is no standard. Just by turning on your HDTV, you can surmise this. Many prefer pillarbox, as that preserves the original aspect of the source. This is true for most SD TV shows that are remastered for HD Blu-ray. But many SD TV shows are remastered for HDTV using Edge Crop, which is a further blowup, cutting off top and bottom of the original frame. This is a preference of some, due to the idea that some people who watch HDTV think that every pixel must be filled, or it’s not HD. Different camps for different reasons. I prefer preserving the original aspect, unless care had been taken during shooting to frame for eventual HD. Then nothing is potentially missing in an edge-crop conversion.
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You should go into Compressor with individual stems rather than an interleaved file. So I would open the interleaved WAV in QTPro, and Export to AIFF, using Discrete Channels. This will give you separate AIFFs of each channel to bring into the Multichannel Audio of Compressor.
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Compressor is likely misinterpreting your source file. When you drop the file into Compressor, check the Inspector and make sure it shows Progressive. Then apply your preset, and make sure in both Video encoder settings and Frame Controls that it all says Progressive, and not Upper Field or Lower Field or Interlaced.
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Autosync is the way to do this, but I think you didn’t necessarily have to autosequence and sync that way first. First, if there’s matching time code on all the clips, then you can just Autosync by source TC and your sync clips are made rather quickly. If there’s no matching time code (this I’m assuming based on your previous workflow), then you can just open each clip in the source monitor, mark an in point where the clap happens, then Autosync the clips in the bin using In Point as the sync.
That said, since you’ve done the syncing in a sequence already, creating subclips and running Autosync on those is really the only way to make the sync clips you want. You might be able to keyboard macro the operation though, if you can work out the pattern of keystrokes it takes to mark and subclip your sync sequence.
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Do you have Final Cut Studio? If so, open your file in Cinema Tools – there’s a Conform option there that will fix your files, and you can batch conform a whole folder of files in seconds.
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I don’t know anything about it, but it sounds like you’d have to buy infomercial time. I don’t see how it gets broadcast any other way, and even then, not sure if it would need to have any qualifications to be broadcast in infomercial time.
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Sounds right, considering how large the file is. Maybe you have slow disks? Better to save to a different disk than the one where your sources are, to ensure fastest save. It’s basically taking however long a file copy would take, considering it is copying the essences from two files (video and audio) into a new QT. It is not recompressing (as long you did not choose EXPORT and instead chose SAVE AS SELF CONTAINED).
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Yeah – sorry I do not know much of MPlayer’s looping capability. You think the simplest things would work, but sometimes they just don’t. Good luck…
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What software are you using to play out? I have a Mini (i5) and can play out 720p60 via HDMI using MPlayer. I noticed VLC has problems keeping up and drops frames, but MPlayer plays out fine.
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This is not necessarily true. You have to think deeper about what is going on with each of these formats. A temporal compression codec like H.264 in 5D files means that you can achieve a bit higher quality recording using lower bit rates. It is not always encoding a full frame for every shot frame, cheating with temporal compression. This is similar to how high quality is achieved on Blu-ray using only 30-40 Mbps (VBR). In the world of intraframe compression codecs like ProRes or DNxHD, these are encoding a full picture for every frame. They are not temporally cheating, so you need a higher bit rate to accomplish the same trickery that H.264 accomplishes with less. So I usually do the math like this: any H.264 bits x 4 ≈ equivalent quality bits in ProRes/DNxHD. So your 20-30 Mbps H.264 from your 5D should really be transcoded to around 80-120 Mbps ProRes/DNxHD to retain max quality. That is equivalent to DNxHD 115/120 or ProRes LT/422. This is just my experience but I have definitely noticed some loss if going to ProRes Proxy or DNxHD 36/45. Both of these have “more bits” than the H.264, but they’re not necessarily the same type of bits.