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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H264 is designed for higher quality at lower bit rates. At bit rates like HDV etc (over 20 mbits) there isn’t such an advantage.
H264 isn’t an editing codec (yet) in FCP but mpeg2 as HDV or XDCam is.
Digital broadcasters use mpeg2.
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If you are judging the text on the SD DVD then I am not surprised. What is the text like on the uncompressed HD quicktime? Even with the canvas on 100%, an external interlaced monitor is a better way to judge everything but particularly text.
The other thing to check is in the motion tab on your text, are your titles on whole numbers or fractions? Getting text to sit pixel accurate in the first place is important.
Are you using text with 100% white? if so, try dropping the white value to 90% and see if you still get breakup.
Finally I am assuming you used an interlaced timeline unless you shot your HDV with the JVC format. What was your original HDV codec and what flavour of ProRes did you choose and what is your final sequence settings because along the way you might have switched from interlaced to progressive which can make credit rolls in particular an issue.
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The typical deliverables for international distribution are-
Music (stereo)
FX (stereo)
Dialog (mono)
Narration (mono)The tracks should be undipped (ie where the music & FX dip under narration, the dips need to be removed so it plays balanced without narration. Old fashioned deliverable contracts still ask for those separate elements to be on a DA-88 tape, but argue for delivery as files as this is what audio and picture post people need to reversion or revoice.
Unfortunately the way to achieve these deliverables is to use bus mixing, where all the music elements are on tracks assigned to a music master bus which is then dipped around the dialog & narration. Same for the other elements so your final mix comes to dedicated master faders for each element. That is also the way to record those separate stems for delivery in one pass.
FCP is not designed for bussing and I haven’t looked at Soundtrack Pro for a while so I am not sure about its capabilities. Exporting and using professional audio editing and mixing software is going to make life a lot easier. Few people in editing seem to understand the requirements of post audio so if you are able to sub contract the audio it will save you a world of pain.
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Stephen, the best approach is to use one codec but the decision to do that should be made in pre production. ProRes is probably the best to chose. At this stage with most of the footage in XDCam, your sequence is probably better left as XDCam that matches exactly your clips and convert the other footage to ProRes 1920 x 1080 so you pixel aspect is common.
To do that open a new sequence, drag one XDCam clip into the sequence and it will ask to alter the settings to match the clip. Say yes and make note of the settings. Adjust your Easy Setup to those settings and you will have minimal rendering/ RT issues. As an XDCam sequence you can set your renders to be ProRes which is a good way to go
I note with alarm that your audio setting is 44.1 which is wrong and a disaster waiting to happen as all your audio is 48Khz.
The important thing though is what are you delivering? If it is broadcast you will need to deliver 1080 50i on HDCam (or SR).
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Firstly ask the audio facility that did the mix to supply wav or aif files. I have been trying for the past few years to have deliverables changed from DA-88 tape to files, because that’s what we all use anyway. I now refuse to supply DA-88.
Forget converting to SDI for recapture and forget dubbing to video tape. None of those options makes sense. If files are not available get an audio facility to dub the tape to files. DA-88 machines are rubbish. I spent more on the maintenance of my machine than I ever made in dubs.
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Congratulations Rafael!
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I presume you have read the current thread on the Canon 5D Mark II and I suggest you search for the many other threads that deal with this camera.
It is a very common subject at the moment and this has been dealt with a lot in the past month.
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I can suggest a few things that will make it better. Firstly don’t capture HDV to AIC. Either stay native HDV or convert to ProRes on capture. I know it is probably too late for that but AIC requires transcoding and it isn’t as good as ProRes for that task.
Secondly the SD timeline should be uncompressed not DV. If you don’t have the drive speed for uncompressed SD then an SD ProRes sequence is next best.
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Level changes are likely to be caused by the Dolby presets having a value for Dialog Normalisation and also possibly dynamics compression.
Changing the dialog norm to -31 effectively stops the Dolby decode chip from changing levels.
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I use the same DVI switcher, but would never consider switching during capture. I haven’t had capture issues with it so it is clearly a problem switching during a critical operation like capture.