Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
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I am sure they would want full frame size and a reasonable image. I normally use H264 720 x 576 (for PAL) medium quality Quicktime conversion which comes in at around 1.5 gig which is small enough to burn onto a DVDRom with the OMF files.
But as Shane said, just ask.
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Fabrice, 16:9 in standard definition is done by stretching the pixel aspect from square to rectangular. This is sometimes referred to as anamorphic. So a squeezed image in VLC is normal. FCP is correcting it as it displays in the viewer.
TV’s that can display 16:9 stretch the image back out, so it is up to the TV display to do the stretch. If you are delivering a broadcast master, then it is most likely going to be on tape in that anamorphic aspect.
If however you want the correct aspect on a file to play on a computer or the web, then you need to export a Quicktime from FCP with the correct ratio. In PAL that means you’re exporting 1024 x 576 instead of the usual 720 x 576. As this is a very common topic here at the COW, I suggest you do a search here for anamorphic, 16:9 etc.
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Firstly, it is better to use media manager to move a project to another drive so there is no need to reconnect. I know it isn’t the best software in the world, but it sure beats manually reconnecting media.
With your audio, was it double system sound or is the audio offline part of the Quicktime of your original capture?
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Using a Lacie 1TB FW800 drive, I have no problem handling uncompressed 10 bit SD. I am working in PAL so the extra frame rate of NTSC may be a killer with 10 bit uncompressed.
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My understanding of closed captioning is for broadcast and the captioning is embedded in the VITC, which isn’t a task you can do in FCP as far as I know.
As for closed captioning in flash, I really don’t know if and how flash does this, but I suspect you can’t do it in FCP and will have to add that later. Best to speak to someone who knows about flash.
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What codec, pixel size and frame rate is the original? What are your sequence settings. Does a red or green render bar appear when you place a clip in the timeline?
How are you monitoring the image? (ie viewer, external monitoring, I/O cards like Kona or Decklink)
If render bars appear, have you rendered the footage to view it?
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What do the cable company want? Is it an SD tape?
If so, then I suggest you create a quicktime of your final sequence to a facility that can play it to digibeta with a decent downconversion. Talk to them about what HD codec the Quicktime should be.
HDV is a useful camera format but certainly not a delivery format. All HDV material from here goes out via SDI to HDCam or downconverted by hardware to digibeta.
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Bear in mind that a 4 track DVCam tape will have the audio sample rate @ 32Khz. Search threads here for extensive info on making an Easy Setup for DV with 32khz audio.
Personally, I would never try to use all four tracks on DV.
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Do you have the vocal isolated? If so then you can add distortion and a loudspeaker effect by playing that through a speaker cranked up and re-recording. That’s the old fashioned way and not really easy in FCP.
Second is to take it to an audio facility that has the ability to pass it through various plugins, starting with a convolution reverb for the loudspeaker effect and a distortion plugin.
Either way, it is beyond the scope of FCP. If soundtrack pro supports VST plugins, then you might be able to do it that way. I never use STP so I can’t advise beyond that. Given that a music video is usually for broadcast, I would take the job to a sound post pro who can do all that you want and make sure the end product is broadcast legal.
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Firstly you need to judge the image on an external monitor.
Secondly DV codec is not kind on graphics and stills due to the codec compression. I suggest your final sequence be copied into an uncompressed timeline for final render. This will make your graphics & stills look better.