Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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DVCPro50 is interlaced. Not sure why you want to transcode to anything before making an mpeg2 file but why not stay in Pro50?
You didn’t specify frame rate because PAL and NTSC are not the same for field dominance which can be codec specific. I suspect the field shift is happening due to a mismatch of field order in making the ProRes if it isn’t happening in DV codec.
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The 5D shoots 30 frame, so how did you convert it to 25? I suspect that is where the problem is.
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Any capture device should be able to produce wav files or broadcast wav to import into FCP. Ask both Tascam and Fostex to provide a mono, stereo and multi channel file to test.
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DV codec is part of the problem. If you drop your edit into an uncompressed or ProRes sequence, you should see better resolution after render.
I have also read opinion that third party software like Innobits Video Purifier does a better job of rescaling than FCP. There are also other rescaling plugins out there, so a search of the forum for rescale or resize might help.
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FCP, like many edit systems has two ways to adjust level. Firstly by setting clip gain and secondly by dynamic channel levels which is done with keyframe automation. OMF can’t export the channel gain automation but can export specific clip gain info.
Automatic Duck software will transfer channel gain automation into ProTools plus a whole lot of other translation like panning and some clip FX like EQ.
I use FCP for online/ grade work and always transfer the audio into a Fairlight Xynergi using OMF. Frankly I don’t want editors channel automation or clip levels. Mixing audio for broadcast requires a whole lot of dynamics processing, bussing and stem mixing and so the audio is split out over a whole lot of different channels and so channel gain info rapidly becomes useless. FCP is certainly not a finishing tool for audio and I am not convinced STP is yet up to the task.
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Many moons ago,Quicktime was upgraded to allow more than two tracks of audio. Since you are on an ancient system with the old QT, the audio config in your new QT files will be foreign to the old QT, hence the trouble reading the audio properly.
I recall this was a common complaint around the time of this QT upgrade.
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And to make things worse, you have to clear copyright if the tune is recognisable.
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Sorry Dave, but what’s with the bold highlights? It is slightly less offensive than upper case but it only encourages scan reading.
In spite of that, I did read and agree with Michael Sacci’s view that L&T is the best workflow.
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How were you planning to get the project into either Logic or ProTools? OMF won’t transfer dynamic levels, just clip levels.
Automatic Duck can export a lot more of the FCP automation into ProTools. But if you are already baulking at upgrading your ProTools, you won’t like the cost of Automatic Duck on top of that.
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Firstly I would be unimpressed with a DVD authoring company that requests DV tape. It is not a good codec to then create an mpeg2 file from for a DVD.
As for the process of doing a standards conversion, the basic rule of thumb for me is to start with the native resolution either on tape or as a QT file and find a facility that has a quality hardware down/standards conversion (like Teranex)to make a digi beta tape or uncompressed QT file in PAL (720 x 576 anamorphic).
If the company in France can’t accept digi beta or uncompresssed QT file, then I suggest you take the file back into Compressor and make the mpeg2 file for them. There are lots of useful presets in Compressor and there have been tons of posts here at the COW about getting a good result so a quick search will unlock heaps of opinion and advice.