Michael Buday
Forum Replies Created
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In the BIN headings when you’re in text view, there’s a column called “Anamorphic”, make sure it is displayed. If it’s not, right-click on the headings and select SHOW ANAMORPHIC. There should be a check mark against all the clips you’ve digitized. You can change the setting by simply clicking in that column against the clip you want to change. You can do this to a group of clips by highlighting the group, right clicking in the ANAMORPHIC column and selecting YES or NO.
Hope this helps,
Michael Buday
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James,
Have you checked the FORMAT settings in the BIN to make sure all your clips are flagged as anamorphic? If not, you can change the settings after the fact on one or more clips in the BIN.
One other thing. I don’t know the Panasonic camera you have, but my son has a model similar to yours, and it doesn’t shoot in “true” anamorphic, it only letterboxes the 4:3 image. You have to use anl anamorphic lens to properly “squeeze” the image. Sony on the other hand actually does perform an anamorphic squeeze on the image (I’m talking SD materila here).
What format is your project? 1080i? 480i?
Michael Buday
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“. . . no one ever implemented a high-speed capture technique using the same method. Too bad actually… ”
Sorry David, but that’s absolutely not true. Sony has had 2x or 4x capture with tape formats working for over seven years. Specifically, Sony could capture DVCAM footage from a DSR-80 deck at 4x faster then realtime into NLE’s that supported it.
Today, Sony IMX decks (using 1/2: beta tapes recording MPEG at 50mb/s) can transfer via SDTI (serial data transport interface) one video stream and eight audio channels at 2x faster then realtime. The Oprah Winfrey show is using this workflow everyday. They shoot with eight ISO’s, a line-cut, clean-feed and insert reel, then they have to ingest all that footage (about 12 to fifteen hours worth) into their NLE’s VERY QUICKLY. Using one XPRI NLE, they can ingest all that footage (at DigiBeta quality) in about 5 hours (the XPRI can digitize from two decks at the same time).
And further, the XDCAM Blue-Ray disc format allows you to transfer offline quality video and audio (similar to Avid’s AVR-10) at 25x realtime using Gig-Ethernet (which AVID now supports). You can also transfer Digitbeta quality off the disc into an NLE at 2x realtime. Sony wil show at NAB next year this same workflow working for HD on Blue-Ray disc. The cool thing is that you can log-on to these decks remotely via FTP. That way, if your footage is in another room or another county, you can digitize via the internet without having to wait for someone to FEDEX the material to you.
And no, I’m not a Sony employee!
Sincerely,
Michael Buday
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If they’ve all got locked code that overlaps by two minutes on each tape, why do you need to line them up? The TC should be all you need to “match” from one tape to the next tape, right? There should be no need to use waveform matching or other means if the TC is locked and accurate on all tapes.
If all you want to do is line them up so that you can view the entire event without a break, just edit all the tapes into a master sequence, making sure you matchframe from the previous tape to the next tape, etc.
Michael Buday
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Mark,
To be accurate, with AVID, only one user has write privaledges to a BIN at a time, but are you saying that with multiple editors can have the SAME FCP project open at the same time? Doesn’t this also mean that I could make potentially dangerous changes to another editor’s posted project and then save it with those changes?
If I can’t open an already open project, and “proper communication” means I have to literally ask another editor if I can open his project before I can gain access to his media, then it’s huge drawback when you’re working with 12 to 18 other editors on a SAN.
Don’t get me wrong, I love FCP, but it seems like AVID’s collaborative workflow is miles ahead unless I’m missing something.
Michael Buday
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The TC Reader is reading the TC of the underlying nest, not the TC of the new sequence. To do what you want:
– Copy the desired portion of the original sequence and paste it into your new sequence at the desire TC position
– NEST the copied clips
– Drop on TC filter on to this nest, and you should be reading the TC of the new sequence
Michael Buday
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Thanks for your quick response. Just as I received your email, I discovered Compressor, which is pretty cool.
I’m importing animations rendered at 720×405, square pixels into a DV/DVCPRO project at 720×480, anamorphic. I then export the finished movies back to 720×405 where they’re integrated as “cinematics” into an upcoming game title.
I’ve got it working except for one niggling problem:
– When I export using QUICKTIME CONVERSION, I get the results I expect, but
– When I export using COMPRESSOR using the exact same QT settings, there’s a visible difference in the aspect ratio of the exported movie.Are there known differences between exporting QT directly out of FCP and using Compressor? I would assume that they both use the standard Quicktime engine to do the encoding?
Many thanks,
Michael Buday
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Thanks so much! That did exactly what I wanted.
Sincerely,
Michael Buday
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Many thanks for your reply. It turns out the OPTION and double clicking the NEST does the trick.
Michael
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Thanks Walter! That was a great help.
Sincerely,
Michael Buday