Mark Spano
Forum Replies Created
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Is it possible the source has audio on tracks that aren’t A1+2? If so, choosing Stereo on your audio mixer’s output instead of Direct Out will route any non A1+2 audio out analog outputs 1+2.
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[Thomas Helm] “I talked to the festivals tech-guy and he said, that CBR is the most stable, that is why they don’t want VBR (appearently the ups and downs in the variable bitrate make a Blu-Ray unstable… at least that’s what he said).”
Yeah sure, this guy’s a peach. H.264 VBR is what makes Blu-ray look so good. CBR is generally a waste of bit rate. But, you gotta give them what they want…
[Thomas Helm] “Since I have the project (ProRes 4444) in Final Cut, I thought I send it through compressor, build the Blu-Ray in Encore, make a discimage and burn that in Toast.”
Sounds like a plan. I do this all the time (of course with VBR)
[Thomas Helm] “BUT… there is no CBR option in Compressor for h264”
For Compressor to encode H.264 for Blu-ray, it only allows for VBR encoding (which is what you have found, and no, you are not missing it)
[Thomas Helm] “How would you go about to make a h264 with a CBR in an apple environment”
Well, since you intend on using Encore for authoring, I assume you also have Adobe Media Encoder. This can encode H.264 with CBR at high bit rates for Blu-ray. Roll your own custom preset to look like this:
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If your throughput is compromised, audio will gradually lose sync with video. So much so that you can hit stop and play again and they will be in sync again and slowly drift out further and further.
Solution is one of two (or both) options: First, make sure source drives can actually play this source media. Open in QT player and play long clip – does it go out of sync just in QT player? Is the video choppy, dropping frames, etc.? If so, move the source media to faster drives.
Second: is the AJA card in the right slot? Check the slot configuration page here and make sure you’ve got enough lanes for the HD throughput. I had a system where this was in the wrong slot and had sync issues just like yours. Moving the card and configuring for enough lanes solved the problem.
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Check your chroma levels too, make sure they’re not too far out of gamut. I like a vectorscope for that, and checkdown on an RGB parade view to catch anything that’s above 700mV or below 0mV.
Other than that, on a glance on my computer screen, it looks good. Someone downstream is likely screwing things up in encoding for air. You’ve seen it on air looking good, so you know it should be fine everywhere.
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Hi Alex,
[Alex Petrovitch] “I have a 5.1 mix for a FCP7 project.”
Cool. I assume that by this you mean you have maybe six WAV files, each representing a stem (L, R, C, LFE, Ls, Rs).
[Alex Petrovitch] “I’d like to get it out of FCP7 and onto a bluray.”
Definitely doable.
[Alex Petrovitch] “what should the settings be on the sequence?”
Like this:
Also, make sure that you set each individual track in your sequence to the appropriate output. You can do this in the track panel:
Then, set an in and out point on the sequence.
Now, we’ll do TWO exports. One for video and one for audio.
Video: right-click the sequence and choose Export QuickTime Movie. Current Settings, Video Only, Self-Contained.
Audio: right-click the sequence and choose Export AIFFs. 48kHz, 24-bit, Channel Grouped.
Now you have a MOV file of your sequence and 6 AIFF files for your audio that match exactly in length.
Open Compressor and click the button that says Add Surround Sound. Click each channel and add the AIFF file that corresponds. Then click Add Video and add your MOV.
Now you can add your video and audio compression presets and author Blu-ray straight away.
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Also, consider that search essentially fruitless, because as we all know, the HD-DVD format is dead. The method described in that link requires an HD-DVD player, and pretty much no one you know has one.
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Barba Batch does it. I’ve done prompts encoding for some airline voice message systems and it’s the same spec.
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No one here is being rude – there is more than enough information in the thread to offer you an explanation. You might take offense at the knowledge on display here, but all of it is correct and helpful. My comment about Craig’s comment being my favorite post is just that. It’s more helpful sometimes to take a quick step back and think about the problem from a more common sense approach. Manufacturers never would have bothered trying to develop an HD disc format if it was already possible with DVD. So often we get bogged down in areas because we’ve dug ourselves in with a workflow that will ultimately prove fruitless. The answers here have more to do with helping the thought process retreat from its position and find an alternative from the start of the path.
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[Craig Seeman] ” Please contemplate why the Blu-Ray format exists.”
This is my favorite forum post of the year so far.
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If you use Mark In Time in the Digital Cut, then you can set an in-point in your sequence, an out-point in your sequence, and type the timecode of the in-point on tape into the ‘in’ of the Digital Cut Tool. This should avoid any discrepancy with offsets as with this process you are creating the offset.
