Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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Is your sequence 16:9 (ie anamorphic)? If so then all that is wrong is the graphics has not been ticked as anamorphic before you put it in the timeline.
If your sequence is 4:3 then you have a 16:9 graphic which is anamorphic (hence the skinny look). You need to adjust the distort tab to correct by 33.33%. The manual has important information about how SD video achieves 16:9 and 4:3 aspect ratios. Basically SD has to cheat to get anything other than 4:3. Understanding how this cheat is done will help avoid further problems later when you have to deliver for broadcast, DVD and web.
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Firstly why can’t your audio facility take an OMF and a 24 frame QT file? Most professional audio systems can do 23.976, 24, 25, 29.97 and some true 30.
The sync drift sounds like the classic .1% which is the difference between 24 and 23.976.
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The mpeg or Dolby audio is a single file which is capable of containing many channels. It ends up as a single data stream which is how DVDSP displays it. Even if you start with two mono aif files, it becomes a single data file when encoded in Compressor.
Nothing different here to multi channel wav files which can be a single file carrying anything from a mono channel to multi channels.
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SDI is superior to component so go with the JH3. If you use the camera instead of a deck you will have to capture the footage as uncontrolled device so sourcing back to your original timecode will be lost so capture off a deck is preferable.
Do some homework and search this forum for advice on capture cards. With AJA Kona, Matrox and Decklink to choose from, you should compare features and make a decision based on primary usage and future needs. Basic requirements for your capture are SDI in and 9 pin machine control.
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[Lisa Koza] “I’ve got 2 gigs left on my 169 size harddrive on this laptop. :)”
Yikes, no place for a smiley face after a comment like that. Running a drive down to that level of spare is asking for performance trouble. Backup some files and clear some space.
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Except version 7 gives you the ProRes 4444 codec
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A quick and dirty that might also work is to use the limit effect capability in the 3 way CC and use the HSL key on the wiondow portion and then grade that.
It can work and is so much quicker than mucking around with mattes.
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If you have access to an audio system that uses VST plugins, Tape Stop is a free plug available (you will find it and a few others via Google)
FCP is not VST plugin compatible so you will have to go out to another system to do this.
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When you converted the 5D files to ProRes what frame rate did you choose? If you left it at 30 then you might have a problem as I do not know if OMFs can support true 30 frame, after all when was that an available shooting option all those years ago when OMF was set in mud.
You may have to use Compressor to make a 29.97 QT file for them to work to and then then delivered mix file should be sped up .1% when they make the aif to drop back into the timeline. Avoid wav files for this as FCP is mostly getting them wrong and sync is drifting for many people.
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Is it actually dropping frames or do you just get the warning? When I switched to FCS3 I got those warnings with the ATI 4870 card and an internal RAID on a brand new 2.9 nehalem octo. It wasn’t actually dropping frames so I turned the warning off and no trouble since (and absolutely no dropped frames either).