Matthias Halibrand
Forum Replies Created
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Last year I was doing the post of a movie shot in DVCPro-HD.
When doing the PAL-Master in FinalCut, I thought, the subtitles should be copied over to the PAL-Timeline by hand to render better, but astoundingly the downresing was just looking better than the natively PAL-rendered titles.
So I can second that. Boris titles do look much better when created in an HD-sequence and then nested down into the PAL-sequence. (Anamorph, it was, too.)Regards,
MatzeHali
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Well, everything seems O.K. but the codec.
It wouldn’t make sense to recompress 8Bit to 8Bit, would it? 🙂
I wrote a step by step instruction on how to use the MediaManager for something like this just an hour ago in this thread:https://forums.creativecow.net/thread/200/877022#877022
So you can doublecheck!
Regards,
MatzeHali
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In FinalCutPro you would use the MediaManager to accomplish that. There is another way I think could work with FCE, but I don’t know FCE at all. Put all the HD-clips in an anamorph Pal-Timeline (if only DV or 8Bit or 10Bit you have to decide, but you seem just to look for a solution for an offline-editing, so I suggest go for DV-Pal) and render this. Then export->quicktime movie with the boxes make movie self contained checked and the one which says recompress all frames unchecked.
The file opened with QuickTimePlayer will look crappy. But hit CMD-J, choose the videotrack and go to visual settings, check the high-quality box. Save the file. You are good to go.
I wouldn’t know if this works inside FinalCut Express the same, but I would give it a try.Regards,
MatzeHali
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Hi Lisa,
O.K., I try to give a rough step by step instruction:
You have your project, an empty timeline and a browser in which all the clips in the various formats are in.
We want to get all those clips to ProRes for editing first.
Mark all the clips and click File->Mediamanager.
Here you choose in the upper dropdown menu Recompress and in our case we choose the codec Apple ProRes 422 (HQ) NTSC 48 kHz.
Don’t check the boxes Include master clips … and Delete unused media.
Base the media file names on existing filenames and then check Duplicate selected items and place into a new project. You can ignore the multiclip-box as you have none.
Then give a destination for your temporary media.
You will be asked to save the new project.
Save it somewhere.,
Then go get a coffee or two and wait till the recompression has finished.
After the compressiontime, FinalCut will open the new project automatically. Make a new sequence. Go to Sequence->Settings and check if it is a ProRes Sequence. If not, in the new window hit Load Sequence Preset and choose Apple ProRes 422 (HQ) NTSC 48 kHz.
There is one more thing which is important, here. This depends on the aspect ratios of your material. If it is all anamorphic, go for an anamorph target, if it is not, go for non-anamorphic. So check the anamorphic-box accordingly.
Now do the editing.
After that there comes the question, what will the final product be?
It’s pretty easy, really. It depends what is your final media. If it’s a DigiBeta, Uncompressed 10Bit will be the codec of choice, if it’s only a DVD, you are in no need to change the Codec since ProRes is good enough to be a high quality source for DVD.
So, let’s say we want to go high quality and make a 10-Bit Master.
Duplicate your sequence. (Just for maintaining the order, you could do it on the original, too.)
Go to Sequence->Settings and hit Load Sequence Preset, choose Uncompressed 10 Bit NTSC 48 kHz. Check the anamorphic-box according to what you did earlier.
Now you will see that all the clips in the timeline will need to render. Since you do have 10Bit-Clips, we can downsize this to only the clips we don’t have in 10Bit.
For this, mark all the clips in your timeline and rightclick, choose reconnect media. Now click Locate and navigate to the directory the original media is in. You might need to uncheck Matched Name and Reel only if FinalCut has added the -v on the ProRes-Media. Just choose the according clip without the -v, hit O.K. Do that with all the clips.
When done you’ll have a full 10Bit timeline which only needs one last render for the clips in other codecs.Voila …
Regards,
MatzeHali
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Well, pass on a part which at the moment is not needed and invest in the right thing enough to not have spent it for nothing is essential in close privatebudget regions. 🙂
Of course, when I buy my first MAZ of my own (haha), it won’t be even a thinker to get the GEN10. Until then, I spend the little money I have to get the best setup for my needs.
Or: Why buy a tractor? A Porsche is much faster! 🙂Thanks for your reply,
MatzeHali
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Hi Lisa,
this looks like a typical job for ProRes.
Then you might even stay in ProRes for Mastering if you don’t need to do extensive grading. Otherwise DV or a JPEG-Codec would be sufficient, if you want to go back to the sources after the editing.
Use the MediaManager to export all of your clips to ProRes (or codec of your choice), edit with these and when done, reconnect the timeline-clips to the original clips, if you need.Regards,
MatzeHali
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For subtitling I can recommend the SubBits Subtitler by videotoolshed.com.
You can easily paste your lines there and then export to Final Cut.
For how to achieve the effect:
It doesn’t really matter which text-plugin, qualitywise I recommend Boris, if you use the SubBits subtitler there is a plugin for text included. I would lay to identical textlayers, change the color of the upper one and animate a four-point-mask over time to achieve the “decoloring”. This is pretty fast and easily configurable.Regards,
MatzeHali
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For DV here we use Sony and JVC.
There is one thing I can tell you for sure. Never use Sony-Tapes inside the 2/3rd JVC-Cams. This will lead to dropouts and a bad (to be serviced) videohead very soon. Other than that, I never had any problems with mixing tapes and brands of decks and cams.
Most of the guys here really dig the JVC-Tapes, but I for my part really like the silver TDK-Tapes (don’t know if they are available everywhere) which are cheap and I never had a single problem.Regards,
Matthias
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Hi all,
thanks for your posts so far.
You’ve been a great help.
As for the gen10, since I’m talking of a monitoring solution at the moment, is this necessary?
I mean, the monitor will synch from the K3, and the maximum I will do is take a HDCAM-MAZ or Cam and capture video, so it shouldn’t be a problem, synchwise?
Or am I completely mistaken here?Thanks,
MatzeHali
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You sometimes get problems with different “drives” (the one in the cam and the one in the deck) because they are not serviced properly. Especially the cams wear out and write the track a little off.
This concludes in a bad read from another drive.
I noticed this on about 10 cameras already, which are private ones and don’t get serviced regularly.
You can’t use their tapes on any other device than the cam itself.
It doesn’t have anything to do with FCP, imho.Regards,
Matzehali