Mark Spano
Forum Replies Created
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Chris – that sounds right. I am mostly an audio guy, working in Pro Tools, so I’ve been reluctant to do any “mixing” or anything like it in FCP. I usually create master mix files in Pro Tools and then drop them onto an FCP sequence to layoff with the edit, so I haven’t had the use for the ‘downmix’ feature in FCP. Being always wary of any level change to my mixes, I’ve kept everything I could find at 0dB (unity gain / no change). The easy way you’ll be able to tell if it’s changing the level on output is to drop some 1kHz tone from the Bars and Tone NTSC onto all of your audio tracks and play them out with your configuration. If it shows up at the deck as all even, then you know you’re good to go. That would be my failsafe method to make sure FCP isn’t dropping the actual discrete output levels.
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The only reason why you would set the channels to -3 is if you were mixing beforehand (in stereo) and now you’re applying that mix to a dual mono layoff – the -3 allows any material that was in both channels to sum to 0dB. In other words, if you aren’t doing the actual mix (in FCP) and are just adding someone’s mix to your cut, don’t use -3. Stereo output is fine, provided you assign the audio track outputs correctly. For me, I don’t bother – just set up the sequence as 8 outputs, dual mono, 0dB downmix. When you add the eight channel mix, each audio track will feed direct to the corresponding output. The proper order for layoff (according to AES and many other authorities) is L/R/C/LFE/Ls/Rs/Lt/Rt (where Lt/Rt is either a Pro Logic encoded stereo downmix or a separate stereo mix). It is a great idea to provide this channel assignment in your slate and on the tape label, but even if you didn’t most will expect when they see eight channels of audio that this will be the order. Hope that’s helpful.
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Any ideas? I am starting to resign myself to the fact that it doesn’t work.
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Also, I noted this passage in the manual for Media Composer:
“Crossconvert and downconvert options that change the edit rate are not supported for digital cut. For example, if you have a 1080p/23.976 sequence, you can preview the sequence at 1080i/59.94. 720p/59.94. or NTSC 30i. But when creating the digital cut, use the native format of 1080p/23.976.”
There is still clearly something I’m missing.
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OK, I got somewhere, but not where I want to be yet. I captured some clips at 1080/23.976PsF and have them in a sequence with no other material:
I found the cross-convert options in the Video Output tab and set them this way:
My HD monitor now shows the sequence playing with 2:3 added. Great! Now, I want to Digital Cut to HDCAM-SR at 1080/59.94i:
I set an in point on the tape and my sequence is ready, I click execute and this happens:
I tried to reset the machine, but it wouldn’t work, no matter what. I then faked it out to tell Media Composer that I was hooked up to the same deck but with a 24P profile, which let me execute the cut, but it bailed about 1.5 seconds in with no error message. So close!
Any ideas? I am new to the HD hardware and workflow on Avid but I was pretty sure I didn’t leave anything out and tried what I could think of to work.
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I believe the system is Mac OS X 10.5.x. The Avid hardware is Nitris DX. The software is Media Composer 3.x (all the x’s are because I’m home now from work so I don’t remember). I am curious how to enable the pulldown – forgive me as I am mostly a FCP guy and have some SD experience with Adrenaline but the Nitris is new to me. I’m at least glad to know it’s possible.
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All I know is that I did the whole certification process before even coming here and it was never suggested that the blank lines were to be all top. I was certified as of 12.18 last year, and they even asked for my Squeeze preset when it was through.
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FYI, I’ve been sending DG spots through the dropbox for a couple months now and have been using Squeeze to do it. I tweaked a preset and it passed their tests and have been certified with no problems. My spots once encoded come at 720×512, 4:2:2, and the extra black lines are at the top and bottom of the frame. I have never been told or advised to make them all appear at the top – not sure what that’s about, but as I said I’ve never had issues submitting spots this way. If anyone wants my preset, I can email you (it’s all of 8K or so)…