Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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Now it all makes sense. Better late than never to get a proper description of the workflow.
So what easy set up in FCP lets you play H264 without render?
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That’s funny!
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Does it play with the same issues on other computers? Also did you use an audio codec to compress the sound or is it PCM?
Tone can be a demanding signal for data compression as it is a pure sine wave so if you compressed the audio it might only be tone that glitches.
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[David Roth Weiss] “I agree with Michael (for the first time ever BTW)”
Oh stop it David. people will talk!
(btw the roses and chocolates were devine)
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[Mark Suszko] “I see Mike, you have not worked in Government video before… :-)”
If it is Defence Dept, then the slowest most expensive option will be desired. Perhaps a Blackhawk to fly the tapes back to base. 🙂
However the next bit disturbs me. Converting from DV to H264 to send it is an issue, because you are going to have to change from H264 back to an editing codec. Sounds like a lot of double handling and a big hit on quality. It also means getting a decent H264 encode from the DV which is extra time for the cameraman.
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If you are going to save a grand a day, then surely you can afford to put FCP on the cameramans computer. We know that works and it makes it 100% compatible.
I agree with David, however that bandwidth in remote locations may make the process of moving a days rushes into a huge upload/ download. Doesn’t matter how thick your pipe is if the location end is thin and expensive.
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The last time I had one track sync issues with FCP was version 2. Not had a sync issue since version 3 FCP. I don’t use ProTools however.
In the old days, dissolves used to push clips out of sync by the length of the dissolve. To find the problem the old trick was to line up a pip at the start and end of a sequence on every track. That made it easy to work out if a track had pushed.
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[Joel Fisher] “I am still curious if anyone out there knows what the English translation of line 22, field 1 is.”
There are lines reserved above video content for data, typical VITC (vertical interval timecode). What they QC people are expecting is that content starts on line 22. This is a throwback to the analog way of measuring the 525 scan lines of NTSC or 625 lines of PAL. In a digital world, that line measure is not often used in pixel jargon. If you are using a Kona or Decklink card, you should have no worries.
Field order is the next part of the equation. This is tricky as fields are referred to as upper or lower in FCP jargon. In TV land they are usually called field 0 or 1. 0 = upper 1 = lower. So they are expecting the digi beta to be lower field first.
On the issue of squeeze versus letterbox, it ultimately falls on the broadcaster to nominate. Personally, I have always delivered anamorphic (also called squeeze or full height to further confuse the issue). Letterbox, throws away a lot of resolution which in standard def is usually not desirable. On DVD it is better to let the player output a letterbox from an anamorphic, rather than punish those who have bothered to get 16:9 TVs. Again there are dozens of opinions on this but that is my practice.
Hope this helps.
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[David Cooke] “also said – integer (Big Indian) I have no idea what that means”
Big Endian refers to the audio. Basically it is PCM
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[Mark Raudonis] “A more appropriate (effective) approach would be to speak to your contact at the network you’re delivering to, and bend their ear.”
Actually one of the reasons why the deliverables are changing is because my colleagues and I have been refusing to supply DA-88s. I went through the same process with sprocketed stereo 16mm mag, DAT and DA-88 so I will continue to push things with broadcasters and distributors.
I understand the argument for tape and SR is obviously better but I am just not going to buy another tape machine that won’t pay for itself. This seems like Sony’s last hurrah in tape but I am not spending.
I also find it easier to get broadcasters to move with the technology in Australia & Europe. For some reason there is greater inertia in the US and UK.