Matt Silverman
Forum Replies Created
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from my understanding, it is not the phosphors which are killing CRT’s… it is the lead. Sony killed all PVM CRT’s but still sell BVM’s. They announced that they would have a comparable PVM CRT coming in the future without the lead issue. But this plan might have changed this year.
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Automatic Duck is great if you need to move your timeline (ie. edits, handles, effects, speed changes etc.), but if you just need to get the edited sequence out of FCP and into AE then do a File->Export QuickTime Movie. Leave settings on “Current Settings”, and keep “Recompress all Frames” unchecked. The Make Movie Self Contained checkbox can be on or off… if it is off you will end up with a tiny reference movie pointing to your original media. If you check it on, you will have a slower export since it is copying the media (ie. NOT recompressing it, just copying it) into a new QT file. I highly recommend making it self contained. If you use a reference movie there is a possibility that AE will not be able to open the clips down the road if anything changes in the FCP project (ie. it might look for a render whose name changes). I have been burned hard from this when projects come back down the road… we restore the whole job, but something ends up missing in the ref movie and we can’t get AE to find it’s source.
-Matt
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It doesn;t matter… he is going for a very low data rate and h264 is the best option. He just needs to figure out the best number to limit the data rate to. My math tells me that limiting the data rate to around 225KB/Sec (2000kb) will be able to fit it onto a DVD (this equates to 13.5MB/Min, or 810MB/Hr).
This should look really good considering the compression ratio.
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h264
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I’m not at work so I can’t check flame, but I am pretty certain that Targa export is 8bit only (TGA is an 8bit. RGBA format).
If they are working 10bit in flame, I recommend having them export a 16bit .sgi or tiff sequence. Open this in After Effects and render it out to the 10bit QT codec making sure to choose “trillions of colors” in the output module.
This pipeline will give you everything they had in in their original.
Shake can also do this, but I’m not sure about Motion.
-matt
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We keep everything in our machine room with AC on 24/7, and firewire drives fail all the time. We have gone through a lot of Lacie big disks, OWC’s, etc. In general, I have found that Firewire drives in general are just flakey… they are my worst nightmare…
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Don’t you know Walter knows everything 😉
Bottom line… FCP is technically “higher quality” than smoke. FCP can capture 10bit from tape and process in float. Smoke/Flame can capture 10bit from tape and process 10bit or 12bit. For most shots, there is no difference though.
Smoke’s toolset can not be beat. The integration is what sets it apart. You can quickly jump from editing to tracking/3D compositing, to paint.
We use FCP, AE, Media Composer, Flame, Smoke, etc. There is a right tool for the right job. Smoke/Fire is the best finishing tool I have seen. When clients are sitting in the room and the spot needs to air in two days, it can’t be beat. We’ve finished shots in smoke or flame in a day which would have taken five days in AE. We also do a lot of tagging… our smoke guy can rip through 300 spots in a day, which would be impossible in FCP.
-Matt
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It should only be used if you are deinterlacing a clip and plan on keeping it progressive and not field rendering at the end. It is trying to do more intelligent deinterlacing. I personally use magic Bullet or Revision Fields Kit for this instead, since they are “smarter” deinterlacers.
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And to add… going out to 1920×1080 is uprezing the image horizontally, so you might consider exporting half HD 960×540, then encoding from there.
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The HDV codec is using the native resolution of the camera which is 1440×1080 with a pixel aspect ratio (PAR) of 1.33:1, then it does a PAR correction when played back so it looks correct (ie. 16×9). If you export to the 10bit codec you will want it to be 1920×1080 with the PAR set to 1:1.
-Matt