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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Outsourcing the audio to a sound post facility is the best way to get a quality result and the sort of consistency you seek.
FCP doesn’t have sub frame edit accuracy or tools for dynamics & EQ that are a patch on pro audio systems, but most importantly, very few editors seem to understand audio well enough to get the consistent professional result that you may be seeking.
STP is a better tool, but as someone who does mixing on Fairlight and grading in FCP, I can tell you that exporting an OMF and getting on with the next edit will be a more efficient workflow than round tripping to STP to use a slightly better audio tool.
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Surely your reference QT file should be 23.976 not 24. This will cause drift of .1% which you will only notice on long clips.
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For years I have advised camera and production people to leave the HDV timecode to start at zero on each tape. using hours digits via preset has been known to create these false breaks. You could dub the preset tapes to a new tape with the code starting at zero and send the bill to the cameraman.
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The Canon XL1 is Standard def so it won’t play the HDV tape. (I am assuming you have an HDV tape.)
YOu will need to hire/beg/borrow the camera it was shot on or a deck compatible with the HDV tape. There are two flavours of HDV 1080i or 720p so you need to know which one. Then read the manual that comes with the camera/ deck and it will tell you how to downconvert the HDV to DV for capture via firewire.
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My understanding is that both HDMI and HD SDI are the same digital signal with no bandwidth limitations on your HDV source.
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[Cat LoBuono] “Captured in proRes HQ, 1440×1080 60i
sequence settings are: Frame size 720×480 NTSC DV 3:2 (I tried changing this but it looked funny)”
You have the wrong sequence settings. The sequence should be 1440 x 1080 ProRes HQ not 720×480 NTSC DV. This is causing your HD signal to be transcoded in the render down to standard def DV codec. It is no wonder that your text looks ordinary.
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In that case shooting and editing NTSC makes the most sense
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H264 means you are transcoding the AVI (which was most likely mpeg2) to mpeg4. This is a poor workflow as it isn’t an editing codec either so it needs rendering.
Better would have been to re wrap the AVI mpeg2 to quicktime mpeg2 if you don’t mind the render. That way you aren’t wasting time and loosing quality transcoding it to H264.
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I don’t consider DV to be huge so there is no point in suggesting any other editing codec because they are all bigger than DV.
If you don’t convert to an editing codec you will have constant render issues. AVI is just a wrapper like Quicktime. What codec are the AVI files? Have you tried converting AVI to Quicktime with the same codec to see if it helps the crash render problem? It will still need rendering if it isn’t an editing codec that FCP understands.
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[Max Huggett] “The reason i am shooting in PAL is because i’m in a PAL country and the final output is for a world wide delivery on DVD”
If you have world wide delivery on both PAL & NTSC DVDs then my advice is to work in HD and pay for a professional downconvert (like Walter suggests) to both PAL and NTSC for the DVD version. That way you have HD covered for the future (or perhaps Bluray release) plus the best quality for SD.
If you wish to do a software conversion, again you are better off working down from a 25 frame HD final. By converting 25 to 24 you will have to deal with a 4% pitch change in the audio. Not impossible to do well, but not something you an do in FCP or STP.