Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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Did you capture whole tapes? When you apply smoothcam it does the whole of the clip, not just the bit in the edit. That is why it has applied itself to other shots in the if they are all part of the one big clip.
To apply smoothcam, make a quicktime of the shot you want to fix with small handles. make sure you copy the clip and strip out filters etc. Re-edit that into the timeline (above the original if you need to go back to the original or steal filters from that shot). Now smoothcam will process just the bit you need and not interfere with the rest.
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Sverker, one of the great joys of living with PAL is that frame rates are simple. Mark’s idea of 23.976 has a fundamental problem if you are producing programs for broadcasters. Speeding the program up to 25 changes the duration as well as the feel and pace of the program. Yes you can correct the audio pitch but in my experience it compromises the PAL version.
Remember, most of the world is PAL. Although the US market looks big and inviting, the usual path for distributing is to provide an HDCam at 1080 50i and it is hardware standards converted to 1080 60i. This is not the best result for the pictures but it retains the correct duration and audio pitch. In delivering many masters for international distribution, I have never had a requirement to provide any other format than HDCam 1080 50i.
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DV is the only PAL codec with lower field dominance. Your field dominance settings in Compressor to make the m2v should correct this to upper and it should also be set as upper in DVD Studio pro.
The filters may also be set incorrectly. I am not aware of the settings in CGM aged film, but make sure the field dominance settings in the filter are also lower to match the sequence and codec(if they have settings for field dominance).
I don’t necessarily suspect the problem is in DVD Studio Pro unless you are monitoring every stage through a card to an interlaced monitor. Interlace errors are hard to pick up on computer screens. So check field dominance settings at all stages of the filters, Compressor and DVD Studio Pro as there is a mistake somewhere in one of those possibilities.
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This post will give you all the advice you need.
https://forums.creativecow.net/thread/8/1050273#1054875
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[Alan Okey] “FYI, you can also monitor Mac system audio through a Kona card.”
Ahh, thanks for that Alan.
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So you didn’t check the manual on distort settings then.
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[Lane Gold] “When is AE and FCP going to work seamlessly?”
When Apple buys Adobe.
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[Alan Okey] “I use the balanced analog outputs from my AJA Kona LHe.”
Jason wants to monitor his mac directly, not FCP. I have the toslink out to a convertor to SPDIF and then into a router which comes to my amp’s SPDIF input. My rooms also double as audio post so I have all sorts of digital sources to route & monitor.
From the Mackie, are you going to an amp? Many amps have toslink and SPDIF inputs so if you patch the mac to them, you simply change monitoring on the amp and voila, clean signal.
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[Dillon Brown] “You saved my day!”
Just as well I put on a clean superhero costume today.
And don’t mind Dave. He hates the Canon camera for some reason.
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If your source footage is 720 HD why are you dropping it into an SD anamorphic timeline? Use an easy setup that matches the source footage, otherwise you are transcoding and rendering all the time.
If it is already 16:9, then try exporting as 16:10 and see if the slight stretch is noticable.