Mark Spano
Forum Replies Created
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I’d say with Bose speakers, even if you put them in a perfectly ideal location, you’d still have weird frequency anomalies at different points in a listening room. They are designed with all sorts of sound refractors in the cabinets so that the sound psychoacoustically appears to emanate from everywhere. That said, I think you could put those speakers anywhere in the room and it wouldn’t make much difference – the response would be roughly the same. It might be wise if the room is large to sum whatever the playback is to mono before it goes out to the speakers. That way whoever is on one side of the room wouldn’t just hear the “left” channel…
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Can be top or bottom field first, depending on your encoder.
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Sorry – don’t know too much more that I could tell you to try. Time to call tech support – maybe you can convince them that a week out of warranty should still be covered…
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Sometimes just holding down that button for a few seconds resets it so you can switch from capture to playback again. See if it helps.
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This I don’t know for sure, but would it be worth it to media manage into a new sequence making clips offline and then recapture (at 29.97)? That would be my best guess. I don’t know how FCP is treating your 23.98 clips as is – if it’s adding the pulldown and keeping your speed correct then doing a media manage to a new sequence with clips offline and then batch capturing the sequence at 29.97 fps should do what you want. Again, this is my best guess as I haven’t encountered this workflow before. Hopefully someone here with more experience can chime in…
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Jeremy G posted this when I asked the same question about HD cross-conversion – only caveat is I would choose what field order your video will end up using if it’s SD=lower and HD=upper:
Export a ref movie form FCP and open that up in Compressor.
Make s new QT setting and in the Encoder tab hit the video settings button.
Choose the codec of your dreams and the set the frame rate to 29.97, then click OK.
Back in the encoder tab, set the audio drop down menu to Pass Through.
GO the frame controls tab on turn on frame controls.
Resize, Deinterlace, and Rate Conversions should all be set to Fast, and then turn the Output Fields to Upper Field First. Duration should be 100%
Leave the filters tab alone unless you want to tweak something there.
In the Geometry tab set the frame size to 100% of source if your movie is full raster HD, if not choose the closest equivalent of full raster (1920 or 1280).
Hit Submit. Wait. Then you have a 29.97 Upper Field first movie with correct 3:2 pulldown. You can now dance the marimba.
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Do you want to mix the two, or just get rid of what’s on A1 and add A2’s contents in A1’s place (creating a mono soundtrack of A2 material)?
If you want to mix A1 and A2, I would export the audio from the clip (right-click on clip in the browser and export quicktime conversion, audio to AIFF, 16-bit 48kHz uncompressed). Then import that AIF into iTunes, and in preferences, Import Settings, choose AIFF, custom, 48kHz, MONO). Right click on the item in the library window and choose Make AIFF Version. Find this new Mono AIFF file and reimport that into FCP. Load your clip in the viewer (as in your screenshot). Create a sequence with just V1 and A1. Arm only V1, overwrite. Locate to the head of the clip in sequence. Load the new MONO AIFF in the viewer. Arm A1, overwrite. Now you have a mono mix sync to picture.
If you want to replace A1 with A2, then just open the clip in the viewer (as you have in your screenshot). Create a sequence with one video and two audio tracks. Arm V1 and A2 in sequence. Overwrite. Now delete track A1 from sequence, and pan A2 center. Now you have a mono audio track with only A2’s contents.
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[walter biscardi] “There is zero reason to use anything but ProRes for 8 and 10bit files.”
Walter, I love when you say things like this because I know it’s coming from a place of intensive testing and analysis. Can you elaborate at all on why ProRes (SQ) is not a tradeoff compared to “Uncompressed 10-bit” for SD? Is it really lossless? How about HD – specifically, ProRes vs. ProResHQ vs. Uncompressed for 10-bit 1080? I realize this may be asking much, but blame yourself, you sparked my curiosity…
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[Rafael Amador] “Your Animation have been rendered as Progressive and if you put it together with interlaced footage, will always look more choppy because it have 30 instead of 60 images per second.”
There’s no interlacing in this project at all. I am talking strictly from 29.97 progressive (Animation codec) to 59.94 progressive ProRes.
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Thanks Jeremy. It’s great to know Compressor will do this right without futzing with the frames. I appreciate your help.