Marni Page
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Yes, I think it had to do with adding Instant 4K, though it was not applied to that particular clip. I closed and reopened Adobe and it seems to be ok now.
Incidentally, I didn’t find the results of the plug in that great for upscaling SD to 720p compared with using Adobe’s own motion controls. I really could not see very much of a difference and it consumes a lot of memory and rendering time.
Don’t know if anyone else had the same experience.
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Thanks, Bob. I did a little test in iMovie, and here’s what I found. It doesn’t capture HDV natively, but upreses it to 1920×1080 with Apple’s AIC codec. It’s not the perfect solution, but it does create quicktime movies that I should be able to import into my FCP project. I’ll just have to render it out in HDV ProRes and hope nobody notices a difference between that and the other footage.
What I’d love to find out is if there is any way to capture HDV wild/no timecode within FCP.
Anyhow, thanks for the clever workaround. I really appreciate it!
Cheers.
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It was a Lacie Drive that was formatted for Mac only using Lacie’s install wizard. As for the system settings, I confirmed that the capture was going to that drive and deselected the capture now limit. So I’m still pretty confused.
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Rohan,
For me it did indeed turn out to be a tv/dvd player issue. The file itself was fine, and it did ultimately play on their machine without distortion. Have you checked the disc on multiple platforms?Marni
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I have used the renaming trick with lots of success for movies that I have created as H264 with AAC audio.
Now I’ve exported an h264 .mov with 32-bit Floating Point Little Endian audio out of an Avid Express. I renamed the file as usual and the picture looks fine, but I get no audio when I play it back.
Does anyone have any idea why this would be? Are there specific audio formats that flvs like?
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Michael,
I’m still having a hard time here. I’m beginning to think it’s best if I go back through all of the sequences and resize it back to 100%, effectively restoring my HDV 25p sequence and convert the media to Pro Res and do the downscaling and retiming from there. Can you tell me the best way to get my edits back into an HD sequence? It seems setting up the sequence, cutting and pasting back into it and setting the motion tab back to 100% size isn’t doing it. Am I missing something? -
Thanks, Rafael. But I didn’t get the last part of what you said. Can compressor do the 25p to 24p conversion well, as Arnie indicates? Which controls do I use in Compressor for this (I’m not in front of my machine right now)?
Also, is it ok to bring native HDV into compressor and then go straight to mpeg? Or should I create the prores files as Michael suggests and import that into compressor?Marni
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You’re right. Sorry I left out the whole scale of the project at the beginning. But I’m happy to have both answers. Now I know going forward how the workflow should look.
I’m going to run a couple of tests based on your recommendations here. I really appreciate your help.
Marni
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I thought I might have to do something like that. I’m working with 12 finished hours, cut down from 32, so it’s a monster. Starting from the beginning would be a nightmare. I do have sequences that contain only the media that I am actually using. I’d rather copy and convert only that media and have it remain linked to my sequence, but how do I do that?
I could copy all the native HDV 25p media that I have now sitting in a finished SD ProRes PAL timeline back into an HDV Pro Res HQ sequence, resize all of my crops again (uuughh), and export self-contained. Then I can re-import this as media (the HDV 24p ProRes movies), conform 25 to 24 and then place it in an NTSC 24p ProRes HQ SD sequence. And go from there.
Does that sound like the right workflow, Michael?
Thanks for your help, by the way.
Marni -
Thanks, Arnie. I’m actually going 25 to 24, not the other way around. But the bigger issue is that I am told that compressor does a terrible job of resizing — lots of artifacts. Is that true?
Marni