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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Color is best suited to grading log material.
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DVD’s need standard definition mpeg files. In Compressor you will find presets for DVDs which produce m2v files for DVD Studios Pro.
If you are attempting to make a High Def disk you will need to make a compatible file, either as mpeg2 or mpeg4 HD spec files. You can also make an SD DVD at 29.97 without reverse telecine.
You seem to be going about this in a very complicated way without a basic understanding of the DVD format requirements. I suggest you read the DVD SP manual to see what the format requires.
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[Alexander Lee] “Does exporting from FCP have higher quality even if it uses “Quicktime Conversion”?”
Hard to say because that is the workflow that works for me and the quality is as good as the source material.
You certainly get options to export in a variety of formats, not just .pct
Try it and compare and let me know if it is no different.
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[Fabrizio D’Agnano] “The one coming from the action camera has a MP4 extension, and it’s ready to use,”
.mp4 is just mpeg4 like H264 so proRes is best there.
If the Canon is truly 1080p then the motion artefacting may may be a factor of shutter speed. Being a prosumer camcorder, you may not have much option there.
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Have you tried a tight luma key? Also the HSL keyer in Color is better than the limit effect in the 3Way CC.
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You can export stills from the FCP timeline. Mark In/Out on the same frame, export> quicktime conversion and select still image. You will then have options to create various stills files (tga, tiff etc).
If the footage is interlaced and has movement, drop a delinterlace filter on it before making the still.
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As a general rule, avoid DV codec. In PAL it is the only lower field codec so the shift field problem with slo mos is avoided. Either way, uncompressed or ProRes is vastly superior and will help with the fine details.
You can fix the slo mos by pasting the slo mo shots in an HDV timeline, strip off filters and make a quicktime mov self contained of the slo mos.
Bring those back into the SD timeline and copy>paste attributes> filters and any other parameters. Fixed!
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Firstly that camera records H264 codec and you need to transcode that to an edit codec like ProRes. Secondly dropping the files into an HDV sequence is a poor choice as it is highly compressed and interlaced.
If FCP is interpreting the files as upper, then it thinks the file is interlaced. I don’t know that camera so I can’t comment on whether FCP is getting it right or not. Some progressive formats are embedded in interlaced codecs, a technique referred to as psf.
So there are possibilities that you have the wrong sequence settings, the wrong codec for smooth render free editing and perhaps the wrong understanding of the configuration of the camera codec. So there are numerous reasons why the playback will look bad. Do not use the canvas as a reliable judge either.
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Changing from 30 to 29.97 is .1% . Don’t forget to slow the audio down as well before syncing to the prores files. Avoid wav files (particularly broadcast wavs) as FCP seems to be making a mess with them right now.
Make vari speed aifs @ 47.952Khz. Pitch is insignificant at .1%
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Like all major system adjustments, clone your drive. If all hell breaks loose, swap to the drive pre Smoke install.