Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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There is a huge advantage in finishing in FCP7. Color 1.5!
I grade & online and most projects delivered to me are still FCP 6 so there is not issues going that direction so far for me. There are changes to the way FCP does clip speed between FCP6 & 7 but so far that hasn’t been a problem for me.
XML’s are the only way back but hopefully you won’t need that.
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I am unsure you are saying that the rastery edges are happening in AE or FCP.
If they are OK in AE and a problem in FCP, then my guess would be that you are using DV codec in FCP.
Have you tried Uncompressed or ProRes codecs?
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In User Preferences > Editing, see if the option to “always scale clips to sequence settings” is ticked.
If so try unticking before importing the jpegs and don’t forget to turn it back on for normal footage as it is actually a handy thing mostly.
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As John mentioned, make sure all files have a sample rate of 48khz and check that your sequence settings are also on 48khz.
FCP is most happy with 48khz for sequence and files and all digital video audio should be at that sample rate anyway.
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When you say multi track audio, do you just mean lots of tracks or using files that are multi channel, like say a 6 channel broadcast wav.
Also have you done the usual preference, permissions maintenance?
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[David Roth Weiss] “BTW, a 5.1 mix out of FCS is actually doable these days using the 5.1 audio monitoring capabilities of the Matrox MXO2, five speakers, and a subwoofer, and mixing in STP,”
Don’t encourage such foolishness David! Minimum requirement for proper 5.1 mixing is a mixer that can sub bus 3 x 5.1 stems with full EQ & dynamics on those sub busses plus a final mix bus with foldown to stereo capability with proper monitoring. STP isn’t in that league and FCP doesn’t have sub bussing at all, let alone proper track based EQ & dynamics.
If anyone wants to try it, I not fly out and whoop them. They are going to whoop themselves anyway when they find out what a disaster they are wading into.
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Crazy track configuration. Do you have a proper 5.1 mix (ie 6 track PCM either wav or aif files) from a surround mix facility?
If so, forget FCP. Use Compressor to make the Dolby ac3 directly from the 5.1 mix files.
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Absolutely at all times avoid mixed frame rates but especially mixing 25 with 29.97/23.976/24 combinations. At least with the “NTSC” flavours they can be fixed with minor audio stretch/squeeze of .1%
But 25-24 is 4.1% so that equates to a significant pitch change of 3/4 semitone. The 25 material can be converted to 24 with compressor using frame controls to simply slow down the footage. This will create new files which will become the master – not the RED 25fps footage so if you were planning on going back to your RED files for print to film etc, that is far more problematic. I don’t know if RED make any software to speed manipulate and create new rd3 files but check the RED web site. Of course if you create new RED files, they will need to be then converted into quicktimes and used to replace the originals. No matter which approach, you shouldn’t replicate the file names so it will be a matter of replacing shots, not trying to reconnect.
In audio post, the changed clips need to be pitch corrected if they are going to match the 24fps footage. This will be noticeable on dialog but not sync FX. The problem needs to be fixed well before lockoff for both picture and sound post/online. The audio is best fixed in sound post. Hopefully they have either Pitch N Time or MPEX3 to do this properly.
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My understanding of DV codec is that it is lower field dominance in both PAL & NTSC. If you have somehow captured it as upper then it will have probably baked in your error, although I am not sure how you would have done this. If you simply have sequence set to upper and the files are all lower (check their properties) than you need to change you sequence settings.
FCP can be very helpful and put a shift fields filter in to correct field dominance mismatches. What you need to do is check your clips are actually lower, copy everything to a new sequence that is correctly set to lower and remove all shift fields filters. Then check your footage on an external monitor to correctly see if you have any remaining issues.
btw, slo mos will look awful on footage that needs a shift field filter.
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If money is tight, you can probably pick up a second hand G5 dual 2.5 that will run your 5.1.4 on tiger or Leopard for a lot less.
I would, however, recommend upgrading both hardware and software together and leave your old system intact as an emergency fallback. If you want Snow Leopard, then FCS3 is a better choice to upgrade to.