Michael Gissing
Forum Replies Created
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What is the res of the original stills? No point in making the res so high either as FCP just has to scale it back to 72dpi and 720 x 480, unless of course you are zooming in and doing moves etc.
I wonder if the original stills are low res and that is why is looks crud.
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Media Manager can work or I wouldn’t be doing HD onlines of DV projects without petabytes of storage.
In Media Manager you need to select create offline. Choose your destination codec.
Don’t include master clips outside of the selection.
Select “delete unused media”
Set small but useful handles.
Don’t include affliliated clips
Save as to your choice destination.
Open the new project and batch capture.
You should notice that a clip that was one huge file in the edit is now broken into small files with the file name appended by -1 etc. The recapture should only include the actual shots in the final cut with handles.
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16:9 is 4:3 anamorphic. When you tick anamorphic on the clip it displays correctly as 16:9 in FCP.
In standard def everything is 4:3. So you can have 4:3 full height (normal standard TV), 4:3 anamorphic (displays as 16:9 on suitable monitor) and 4:3 letterbox (displays as 16:9 with black bars on normal standard TV)
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[boydmcc] “Afterall, FCP can capture HDV which is 32kHz 12bit.”
HDV like DV can be set to 32khz four track. Like DV please don’t ever do this. The nornal setting for HDV is two channel 16 bit 48Khz. Fortunately this is the default on all cameras. Internally the audio is recorded to tape as mpeg, but comes out as PCM 16bit 48Khz.
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Is the tape DVCPro 25 or DVCPro50? The DV preset you are using is for 25. If the tape is 50 then select the suitable codec.
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This is nothing to do with FCP but a specification for calibrating digital levels in a monitoring environment. All mix theatres that do cinema work calibrate their monitoring levels with pink noise to 82db level with a portable noise level monitor (basically a meter with a built in mic). Mixing is then done with those monitoring levels so that there is a uniform volume in the cinema. It is a nice idea but flawed by those that want to make their cinema trailers louder than others etc.
What you need to do is take your sound track to a mix theatre that knows what cinema levels are for mixing. Strictly speaking they need seperate pre mix stems of your music, dialog and fx which they put back together and set dynamic compression and mastering levels for cinema.
Otherwise you are guessing levels.
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So for external drives are you an eSata snob??
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You haven’t described what your actual problem with interlacing is.
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The scopes are much better since 5.1.2 I am on 5.1.4 and in the scopes are showing a much more accurate display and also are real time for SD. I only grade on an external monitor and refer to the canvas window only to see the excess luma tick.
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A quick Google threw up and old cow post – https://forums.creativecow.net/readpost/98/863219
and within it a link to this software – https://pomfort.com/silverstack/
Hope it helps