Michael Gissing
Forum Replies Created
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My guess is that when you watch the DVD on a commercial machine, you are watching it for the first time on an interlaced monitor. The problem may go back to the field dominance settings in the original FCP sequence. If you have not watched the project on an interlace monitor while editing, you won’t have picked up any field problems as computer monitors are progressive. Same is true of watching the DVD on the computer.
If the “horrible” image is all jittery then that’s my best guess.
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Phil, as Walter said, DV is lower field dominance so leave your sequence set to this. The HDV material is upper so FCP applies the shift field filter. This is fine until you slo mo where the frame blending gets all confused. To solve this problem, copy the slo mo shots into another sequence which is HDV 50i and remove the shift field filter. The slo mos should now look smooth. Experiement with frame blending if they still look jerky. Then make quicktimes of each slo mo in HDV codec (same as sequence)and drop those quicktimes back into the DV sequence. Again the shift field filter will apply but it now happens after the smooth slo mo has been done.
It is a pain and a work around but for whatever reason, FCP gets field order wrong when trying to do a slo mo on footage with the shift field filter applied.
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I presume that you are using a DV sequence. If so you need to use the HDV camera to downconvert the image to DV and then you can capture it via firewire.
As you didn’t give details of your FCP settings and the camera, you will need to read the instruction manual for the camera to set it to downconvert from HDV.
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The progressive mode in the Canon is actually 1080 50i. It gives the progressive image as two identical fields that are interlaced. This is sometimes referred to as progressive segmented of psf.
The correct setting in FCP is 1080 50i upper field dominant.
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Adam,
I have used that machine with the Decklink HD Pro, but I own an HDW 1800. You will need to plug the super output into a monitor, and use the setup menu to change the deck to 50i. You will also need to make sure the deck is set to lock to input not ref unless you have everything locked up to an HD reference like tri level.
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The other option is to open the audio mixer, enable the automation (icon up the top right from memory)and do real time mixing which writes keyframes. So much faster than mucking around with manual keyframing and you can edit them later if you need to.
Splitting clips is a nightmare if you end up going out via an OMF. It seems so much faster to just mix but hey, I am primarily an audio post person who also color grades.
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How are you feeding signal to the CRT monitor? Composite PAL on a CRT has horrible chroma crawl on red colours (note the PAL spelling).
If you are seeing it on an SDI or good component feed I am not sure what to suggest. A slight blur may soften the crawlies a bit. 8 bit may help but at the expense of all your pics.
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Years ago I did a Google search and found a text file that had lots of different unusual characters. It gave the keyboard shortcuts for Mac or you could also just copy & paste. It seems to work with all the fonts I have put copyright or registered symbols on.
I have a shortcut to the file on the desktop. Easier than remembering shortcuts.
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As a broadcast audio pro, I have posted many time here at the cow about broadcast levels. A search of this forum alone will bring up many rants, but to save you the trouble, here are a few pointers.
https://forums.creativecow.net/readpost/8/982782
https://forums.creativecow.net/readpost/8/990491 -
A lot of misinformation in these answers. Broadcast levels do vary but there are set international levels for SMPTE and EBU broadcasters which limit peak levels to -10dbfs (digital full scale) in NTSC land and -9dbfs in PAL land.
Reference at -12 is not the common broadcast standard. -20dbfs is SMPTE standard and -18dbfs is EBU standard. The bottom line is to ask your broadcaster what their specs are.
Pro audio post people all use high quality compressors and limiters to achieve these and with high intelligibility of dialog by also EQing. FCP, Vegas and all the other video edit tools do not have this quality of dynamics or EQ. Normalising is not going to come near to making a proper broadcast quality sound track and nothing automated can come close to human perception. Sound post is not and never will be something that a machine can do. As this is the most misunderstood aspect of video production, a keen amateur will be unlikely to come close to a sound post pro. You might make a better fist of graphics or grading if you are trying to cut budgets.
The price of sound post compared to the value it adds to the finished product makes it the cheapest aspect of professional program making. My advice is to cut corners in every other aspect of production before under funding sound post. Just do it once with a professional and you will see how much more value you get doing it that way.