Matthew Nelson
Forum Replies Created
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This addresses your problem.
https://docs.info.apple.com/article.html?artnum=93234 -
The bug 6.0.2 fixes is FCP drops the renders of nested sequences. If you are rendering nested sequences I suggest you upgrade or never turn off your project or crash until you are done.
As for the error are you trying to render a still? Or have multiple high res layers? I see this error a lot when people are rendering 4K plus stills. Try and ease the burden by dropping the res of any stills to no larger than what you require. You can try baking some elements before the main render to reduce the number of layer. A compositing version of a mix down.
Hopefully the rumors that FCP will be 64bit sometime during Leopards reign will come true soon.
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Did you shoot progressive or progressive split frame or old school interlace PAL?
If you shot P or PsF I would pull the frame rate down to 23.98 in Cinema tools and pitch correct the audio in Soundtrack. After you pull the video your audio will be 4% shorter then the video. In FCP get the new TRT for the pulled video and plug that value in the time stretch process. Double check that the audio at the end of your film is in sync and bada boom bada bing you have a 23.98 film. Just make a MPEG-2 from this source because DVD works best in a 23.98 environment. BUT this will ONLY work if your PAL footage is P or PsF.
If it was interlaced you will have to standards convert the footage to 29.97 NTSC. I would use the better setting in compressors frame converter if this is for final release and you cannot afford outside Alchemist PhC conversion, because it uses optical flow technology to perform a motion compensation conversion which is similar strategy to what the S&W Kudos Mach1 uses. This will be a 50:1 to 60:1 render ratio if you are on a dual 2Ghz G5 a 20:1 to 30:1 if you are on a Dual Quad 3Ghz Mac Pro, but it makes for the best conversions when it works.
Just compressing a PAL to NTSC without any frame conversion will cause jutter. Since there is no rational correlation between 25fps and 29.97, frames are either duplicated or dumped willy nilly as compressor attempts to pound a square peg through a round hole.
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My big rule is only standards convert footage once. Since your final output is NTSC I’d convert your PAL into NTSC before cutting. If you have the $$ go Alchemist PhC if you have no $$ use Compressor’s Advanced Format Conversions.
I’ve had mixed results with compressor. When it’s on it looks spectacular when its off it’s jutter city. If you go Compressor its about a 30:1 to 40:1 render ratio so cluster, cluster, cluster if you can. Nattress has a standards converter filter if you get no love from Compressor.
If your NTSC is 23.98 3:2 telecine and your PAL is 25P you are in luck. Just reverse the telecine on your NTSC footage. Capture the PAL with audio and video split. Use Cinema tools to pull down the video to 23.98 and Soundtrack Pro to retime the audio to match. Then edit away in 23.98.
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Since you are in Soundtrack Pro I suggest you try the noise reduction tool found in Process/Noise Reduction.
Highlight an area in your audio track that has the buzz as isolated as possible. Then go Process/Noise Reduction/Set Noise Print.
Then highlight all the audio you want to effect and select Process/Noise Reduction/Reduce Noise. You’ll have a widow where you can control the threshold, amount and pitch of the noise all while you are hearing the results in RT. You can also check noise only to hear what is being taken out.
Matt
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Unfortunately the footage tells a different story. To answer your question there is no working way to take native NTSC 29.97 footage and make it 23.98. If they tried it would look ghastly.
Things could have been worse the shoot could’ve had one camera shooting 24 and the others shooting 29.97.
But if these videos are direct to DVD 23.98 would be the preferred format. Post just needs to edit in 23.98. Another option would be to do the Avid equivalent of make offline project with 23.98 settings and capture the footage again this time reversing the telecine. They would have to go through the edit and check for black frames and other timing changes. But that takes time and we all know what time is.
My guess as to why the Avid folks didn’t see the problem is that they are watching it on a CRT.
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This footage was shot at 24 or 23.98. What you are seeing is the B/C and C/D frames of a 3:2 telecine cadence. You will notice that you have 2 “interlaced” frames per every 5 frame block within a cut.
Your real problem is that the telecine was not reversed before it was cut. In the clip you provided at every cut a new cadence pattern starts.
The only thing I know that can correct broken telecine cadences is the Snell & Wilcox Ukon. This would require you to play the footage via SDI into the Ukon and then capture the clean reversed telecine SDI on the other end. Not to mention the rental on the Ukon. Perhaps someone else knows of a software cadence corrector. Unless you breakup the edit to its individual clips, apps like After Effects will do nothing for you.
I would have the Avid folks try deinterlacing the project when exporting the QT and see if that gets you exceptable results.
In the future the Avid guys have got to reverse the telecine when they capture 24 or 23.98 the footage. Then they could send you a 23.98 clip which is the ideal frame rate for DVD encoding.
Sorry you have to go through this.
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Interleave is when a stereo mix is saved as single digital file. The L and R samples are written together or interleaved. Reading you post again it sounds like the L and R are separate files. In that case I would use the dual mono 0 dB. I hope this has helped you.
Matt
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How full is your RAID?
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With the audio layout you described I would set the audio output Ch 1 & 2 dual mono 0dB. My question is this international left and right a stereo mix that you want interleaved on tape? If so set Ch 3&4 stereo 0dB. If these are to remain non interleaved left and right set Ch 3&4 to dual mono 0dB.
I set all my audio to 0dB. The mixes I get are all normalized to either -20 or -12. I generally don’t want anything adding to or taking away from their levels.