Michael Gissing
Forum Replies Created
-
Ross, why the PAL world adopted lower field for DV is beyond me. The fix is slightly fiddly but simple.
The slo mos must be made without the shift field filter, so copy the slo mos into a seperate sequence that is set for DV lower field. Remove the shift fields filter. Make QT movies of the slo mo shots. Drop the Qt in to replace (or sit on top of) the original file. The QTs should be in DV codec. FCP will then automatically apply the shift field filter again but the slo mo is “baked in”.
FCP seems to have a bug with shift field media and introduces field errors during slo mos. I think the filter is being applied after the slo mo calculation so the fields are reversed in the slo mo creating jitter.
You could also investigate using Motion to create your slo mos, make a QT and drop that back into your uncompressed timeline.
-
A word of warning. Normalising, processing the file and replacing using software like audacity may help but all of them will be an issue if you are exporting an OMFi for sound post.
Sound post facilities have much better gain algorithms and will always want the original clip. Just use the peak limit or gain plugin. If you need more gain, use two plugins. The plugins don’t translate in an OMFi. (this is a good thing)
Please don’t double tracks or replace the original file. These are messy and unnecessary options that create more work for the editor and sound post team.
-
I would stay in SD. Transcoding is always a compromise. With your final digi beta master, it might be worth uprezzing with hardware, like a Teranex or Snell & Wilcox converter. These devices do a better job of scaling up.
In the end, the rez is set by the original source. No silk purses here but a hardware uprez should get a better result than FCP scaling.
-
If you are going to OMF for sound post then please don’t double & quadruple tracks. This is messy and creates extra work for everyone.
Drop the dynamic or peak limit plug in on the clip. It has a lot of extra gain. you don’t need to set anything in the dynamics (ie ratio 1:1). If you need more gain drop a second plugin on.
Best news is that those plugins don’t travel with the OMFi so there is no extra work in sound post. Also from an editing perspective, it remains one clip for editing, not an unruly collection.
-
For a short spot like a TVC, it might be cheaper to take an HD QT file to a facility to dub to whatever brand of HD tape the station requires. They may even take the QT file.
Buying/ hiring in cards & machines will cost a lot for a short dub.
-
Yes FCP is capable of good Color Correction. I use it for broadcast programs as do many here at the Cow. In addition to FCP tools, I use Nattress & Lyric plugins to enhance the 3 way.
Grading can only be done on a properly calibrated monitor. Computer monitors are all over the place with color reproduction and they don’t handle interlaced images properly. Just grade so that it looks good on a proper monitor. Don’t chase your tail trying to make it work on any old monitor.
-
Squeezed is called anamorphic. Make sure your easy setup is for an anamorphic sequence and that all the footage is ticked as anamorphic.
-
The digi beta signal is interlaced. Even though the original is film, the telecine produces and interlaced signal to tape in SD. Treat it as interlaced in FCP and you shouldn’t have problems.
-
DVD players have to be told which zones and system formats to play and which ones not to play. I don’t know of any manufacturers that don’t make universal machines and then software cripple them. Many players can be switched to play all zones all formats, but not ALL players. Similarly not all TVs auto switch PAL to NTSC but many do.
Many people (but not all) in PAL countries can handle NTSC disks perfectly well. So Dave is close to right but Carsten is quite correct.
As for transcoding an NTSC m2v file to PAL, that is a regretable codec to do a conversion on. It would be much better if possible to do it from a master tape, preferably uncompressed. Compressor is certainly not the worlds best standards converter, so I would try Dave’s idea and find out if delivery of an NTSC disk is OK.
-
I make little bins with a set of CC filters for various repeating shots like interviews. The trick is to name them so that they sort themselves alphabetically so that when you highlight and drag & drop they are in the right order.
The other trick is to take a representative shot with grades and copy it down the timeline after the end of the show. When it reappears in the timeline, locate down to that shot, copy and then paste attributes>filters etc.