Mark Spano
Forum Replies Created
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Clocked usually means “to the clock” or show length to exact time. Usually it means laid out so that when played, each show segment is an exact clock time and they add up (usually to something like 22 min 0 sec for a half hour show in US). I would ask why they need separate versions, and also ask for the clocked version if they need slates for each segment, how much time in between segments, what is the exact clock time for show length, etc..
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I have a Panasonic BT and I think it’s a bit overpriced. I prefer grading on the FSI monitors, which have a lot more features and nicer panels.
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What Shane says is correct, and you should follow his instructions.
To elaborate on the other part of your question: there is no such thing as PsF in file formats. PsF is only created upon output over SDI. The spec sheet is wrong or has a typo. A ProRes HQ file at 23.976 fps will ALWAYS be P, not PsF. In the file based world, progressive frames have no reason to be segmented.
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Do yourself a favor immediately and get Automatic Duck Pro Export. This solves a nice bug that was never fixed in FCP7 where 23.98 OMF exports show up as 24.0 in Pro Tools and lots of subsequent drift errors occur.
The instructions for making an AAF from Pro Export are easy and your audio mixer will thank you.
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Are you sure you can’t install FCS? I’ve seen many people on the forums who are using Mountain Lion and FCS3.
The alternative would be just installing Compressor (v4 from the App Store). It’s $50 and works the same as what you’re used to.
Other alternatives would be Sorenson Squeeze, Adobe Media Encoder, and maybe FFmpegX for a free route…
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ATSC A/85 is a guideline for using loudness measurement for audio as opposed to the traditional peak/RMS. The -24 +/- 2 number means that a loudness measurement of -24 LKFS should be the target. The peak level of -10 dBFs or -10 dBTP should be heeded as well.
With a tool like Avid’s Pro Limiter, or the Waves WFM loudness meter (among many others), you can measure LKFS and dBTP easily.
If you don’t have a loudness meter, you may want to look into a (somewhat) automated tool to gain change your mix into a loudness spec. Video Toolshed makes a very inexpensive tool where you feed in your mix file, set the specs, and it outputs an adjusted file to match the spec.
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happy here with FSI – great monitors, price, and features.
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Yeah, you’re right. I just tried for a half hour to do it and got equally stuck. I think there are some effects (BCC, Sapphire?) that handle this more elegantly, but for something so seemingly simple, it is sure frustrating. Reading this thread had me thinking it was going to get me on the right track, but every time it affects both V2 and V1. I think it has to do with the fact that AniMatte is creating its own key, and kicking through what’s underneath, so you can’t add another two-input effect and not have it still punch through. I tried the simple Resize on top of the Animatte layer, but it moves the whole frame underneath as well. Hopefully someone else can chime in here.
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For that, I think you might need to nest the effected clip with a submaster, or simply do a video mixdown for the effect and apply the resize to that. I know I’ve done this before, just don’t remember exactly how, but it’s doable.
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Avid’s effects are recursive. You need to “step in” to the clip you want to apply the repo to. Usually this means parking the play head on the clip, highlighting the track, and hitting the up/down arrows located at the bottom left of the timeline window. Once stepped in, you can see where the animatte effect is and if you drop the resize effect on whichever of these tracks has the source you want to resize, it will not affect everything on tracks below.
The basic concept of step in / step out can be viewed here