Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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They all need to be converted to an edit codec anyway as FCP doesn’t handle h264 properly as an edit codec.
So when you use Compressor to convert them all to ProRes, convert the audio sample rate to 48khz and job done. No renders picture or sound and no more beeps.
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Once you have the text matching the correct pixel aspect, take your final timeline and render it out as either 10 bit uncompressed or ProRes in that same pixel size to get a better result.
DV codec always makes text blocky. It is a compression that does poorly on hard lines and real edges.
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I presume the mts file is mpeg2 so why transcode that to mpeg4 (H264?)
Just play the mts or rewrap it to a standard mpeg2 file. No transcoding and will look as good as the mpeg2 is.
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[Scott Sheriff] “It will probably get me by for a couple of years. I hope by then the 4 gig sticks will be priced better.”
No doubt they will but I am an optimist and expect a 64 bit FCP before then.
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I recently upgrade hardware and software to FCS3 and I chose 32 gig RAM for the simple reason that I hope to not have to open the box for a good while.
I wanted to have bases covered if and when FCS goes 64 bit, plus Motion and Compressor can utilise more RAM that FCP. I also often have Color and FCP open at the same time and occasionally Motion as well.
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[Will Granzier] “My mind goes – could the drive be going !?”
Sounds likely. Check the disk with Disk Warrior and see if it can repair any corruption. Also it might be worth then cloning the drive after Disk Warrior in case it is about to fail.
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If you use the 3 way Color Corrector filter built into FCP you have control specifically over the black level and the black color balance.
With that yo should be able to get a better color match. The RGB parade view in scopes will help you to get even levels and color
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Not sure why you would make the field dominance none? 1080 25psf is a progressive image wrapped in a 50i frame. When I work in this format from HDCam, I leave everything as 50i and have no trouble playing out to HDCam.
That said, there are settings on the HDCam decks for 50i and 25psf. I presume the Kona is output 50i, so try that setting on the deck first. Are you getting funny green colored blocks on playback but EE looks OK? If so it is the psf versus i setting on the deck.
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Two important considerations. Firstly what are your sequence settings in FCP. Choice of frame size and codec used can make a big different.
Secondly what aspect ratio are you using. You graphics are smaller than most standard def frame sizes and your aspect is 4:3.
If your text is simple, try the built in Boris text tools in FCP. Photoshop may be overkill.
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I was just referring to the panning in the final mix stereo files. No need to do anything in the original sequences if you have the mix already done.