Matt Lyon
Forum Replies Created
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[Christian Clark] “I bring the file into Compressor and select reverse telecine and it greys out the options for Output Fields.”
It greys it out because the OUTPUT format is progressive, so no fields. The issue at hand here is how Compressor interprets your footage on INPUT. Click on the thumbnail for your video file in the batch window and check the “field order” in the video properties window. Make sure it is correctly set to “upper field first,” then try again. If it still doesn’t work, you might have to use Cinema Tools, which has more advance pulldown cadence options. The Cinema Tools manual isn’t bad, IIRC.
Matt Lyon
Editor
Toronto -
Joseph, is this a limitation of ProRes HQ? I’ve certainly output plenty of tapes successfully using realtime, correct 2/3. Never tried using prores, though. The last time I did this was probably in standard def, 10-bit uncompressed to digibeta via Kona board.
Matt Lyon
Editor
Toronto -
Joseph, if you are referring to the fact that FCP doesn’t do correct real-time 3:2 pulldown, does that really matter in this situation? Amy is using a 29.97 timeline with the 3/2 already baked in.
FWIW, I wouldn’t really make any judgements about stuttering problems unless I was looking at my footage on a real broadcast monitor, using proper output hardware.
Amy, for the time being, I would make sure your timeline settings are correctly matching your footage settings (field order especially). You could then burn a short section to DVD @ 29.97 and watch your footage on a good old SD tube TV if you have one kicking around.
Matt Lyon
Editor
Toronto -
How are you trying to remove the pulldown? Cinema Tools or Compressor?
DV and Digibeta footage both use different field orders, so it is possible that whatever program you are using is not guessing the field order of the digibeta stuff correctly.
There is another recent post about someone with similar problems:
https://forums.creativecow.net/thread/8/1136459
Not totally the same situation, but worth a read for some of Jeremy’s tips. Sometimes I’ve found with problem footage you just need to try every possible combination of settings in Cinema Tools. The frame that you park the viewer on in Cinema Tools is important too, since that determines the start of the cadence pattern detection. The CT manual is worth a read too, if you haven’t already.
Hope this helps,
Matt Lyon
Editor
Toronto -
In os 10.5, you had the option in the software update application to go to the “update” menu and select “install and keep package.” (or just “download) Then you can have it on hand for future use, should it disappear from the interweb. This seems to no longer be the case in 10.6 … bummer.
Dan, did you check in your /Libary/Updates/ folder to see if any usable .pkg file showed up after you installed the 7.0.3 update?
Matt Lyon
Editor
Toronto -
I think the updates you download via the “software update” control panel go in the /Library/Updates/ folder on your hd. I just checked mine and found some old packages.
HTH,
Matt Lyon
Editor
Toronto -
Probably your best bet is to stick with WAV files. I haven’t heard of this causing any problems down the road. I just finished a show that was all WAVs from Hard Disk recorder. The audio post guys imported my OMFs with no issues.
Just make sure you’ve set up your system properly when you ingest the media. See the second half of my tutorial:
https://library.creativecow.net/lyon_matt/fixing-fcp-assets/4
AFAIK, you can’t stamp AIFF files with timecode metadata, period. Unless I’m mistaken, this is a limitation of the file format.
Matt Lyon
Editor
Toronto -
[Matt Lyon] “you can “apple-shift-f” to “reveal clip in bin” (a very hand shortcut, imho).”
And by that, I meant “shift-f” to “reveal master clip”
Matt Lyon
Editor
Toronto -
Sounds like this issue was never resolved?
For both the posters, I had a couple thoughts (but no solutions, necessarily — like John, I cannot reproduce the problem):
-First off, it’s probably a better habit to copy/paste the merged clips into the editor’s main project FIRST. Then, make your stringout sequences WITHIN the editor’s project. I don’t know if not doing this could cause the problem, but it’s worth exploring. Also, this will guarantee that you can “apple-shift-f” to “reveal clip in bin” (a very hand shortcut, imho).
– Also, is it possible that there exists other copies of the same video clips (albeit “unmerged”) in the editor’s project, before you imported the merged clips. This could be a potential reason that FCP gets confused.
-Which machine are you doing the clip exchange on? Might be worth opening the editor’s project on the assistants station and trying the “copy/paste” there … rather then on the editor’s machine (or visa-versa).
-An even longer shot: is the camera original audio and the external audio different frame rates or sampling rate. I wonder if FCP doesn’t like merging clips with different specs (seems far-fetched though).
-Are the clips being merged of different lengths? I wonder if this could cause issues if you try to match frame a section which is only covered by some of the audio tracks?
Matt Lyon
Editor
Toronto -
[Lawrence Bowden] “I wonder if anyone knows how I go about operating in the comand prompt to output to uncompressed 10 bit?”
Google “os x ffmpeg install” to read up on how to install the command line version of ffmpeg .
The pro install of Quicktime Player on a PC will also write 10-bit uncompressed quicktimes. But if Quicktime Player on the PC won’t open the AVI files, this isn’t much help.
From what I recall, the BM, AJA and Apple 10-bit uncompressed codecs are all pretty much interchangeable, no?
Matt Lyon
Editor
Toronto