Michael Gissing
Forum Replies Created
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To make an SD anamorphic play correct aspect on a web site you need to output the file in a 16:9 ration. For example a PAL SD frame is 720 x 576. This is 4:3 ratio. To unsqueeze the anamorphic, make the ratio 1024 x 576 which is 16:9.
If you need smaller frame sizes then get your calculator out and make sure the horizontal to vertical ratios are 16:9 or just divide both 1024 and 576 by the same number to reduce the frame size.
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Video and audio tech specs for broadcast is an oft repeated theme.
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I know I have asked Walter before if he has seen the Aquos monitors and not received an answer so I won’t ask again. Suffice to say the ABC in Australia bought a 52″ Aquos for program QC because it was accurate and being LCD didn’t drift or require constant recalibration.
Talking to the techs there they said it was a much better reference than their SONY CRT HD monitors. Assuming a consumer product is not good enough is a common habit.
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Chad,
I have been grading on a 45″ Aquos for the past two years. However, I use a Decklink card and feed the component signal to the monitor. I am not sure I would trust a DVI signal to be accurate. Many here have raved about the Matrox converter which may be a better option if you want to use DVI.
The Sharp monitor has been reliable and accurate and I have had no problems with grades translating well in real world environments from CRT monitors to LCD projectors.
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So rushes. I understand the budget issue as I work in docos.
What about the question of frame rate versus speed conversion?
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Is compressor doing a real time frame rate conversion or a slow down from 60i to 50i? How quickly does the audio drift?
If it is a speed change then the audio needs to be slowed 4%. Doing this properly would involve using external software like MPEX or Pitch & Time on an audio DAW to maintain pitch.
I also have to ask why you are using compressor for this job. If it is a final master for broadcast then you are better using external hardware at a duplication facility to do the conversion which is not only real time & four audio but looks better.
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You will need to export the audio track as an aif file. Dropping your NTSC QT file into the sequence is causing your sync drift.
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On the assumption that your 60i to 50i conversion is real time & not a speed change, the audio from your 60i will sync with the 50i.
Audio is 48khz so frame rates are not an issue as long as real time is maintained.
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[Billy Johnson] “Actually I like Shane and his mixer’s strategy. Why not listen to a mix where it’s eventually going to be played?”
Two very good reasons. Firstly small TV speakers are highly variable so all you are doing is hearing it on one particular speaker that the mixer might be familiar with but the director, editor & producer aren’t. Secondly time is often wasted trying to make it sound better on the smalls only to find it has ruined the balance on the big speakers.
If I said it was a great idea to grade on a crap badly set up TV you would probably tell me why that’s stupid. This is the same idea for sound and frankly from my experience mixing 800+ docos I think it a waste of time. Time is money and there isn’t enough time or money so why waste it on tail chasing?
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Using the Decklink HD Pro card I have been doing inserts using RS422 and SDI into digi beta (DVW2000) & HDCam (1800, 2000 & 500). There have been times in the past when I had frame accuracy problems which were Decklink driver issues.
I have never had cause to use Panasonic machines but I suspect it is a combination of machine type & output card driver. Inserting audio is always a problem due to the way FCP (& AVID) do a play from first frame when the deck drops in. There is no audio playback prior to the edit for the deck to crossfade with so there is usually a tiny dip at the insert in.
I wish FCP would roll picture & sound a few frames before the edit. Audio systems sync and lock & roll with the deck so you can punch in & out on the fly. That is really useful and makes seamless audio inserts work brilliantly.