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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What are your sequence settings? Do they match the QT codec? Do the clips need to be rendered?
There are lots of ways to get it wrong in any editing system. If you are using DV codec in your sequence then it will degrade your text in particular. It gets worse if your QT codec is different to the sequence and you are transcoding. In that case a render bar will apear but your system will still try to play it at a reduced quality depending on your playback settings and system specs.
Finally you need to judge image quality on an external monitor.
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What drives are you capturing to? How are the drives formatted? It could be your drives are too slow for Prores or formatted incorrectly which is limiting file size.
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HDV shot on the Canon is 50i. The 25p setting is psf which means a progressive image segmented into a 50i signal. So you 25p material is actually 50i with identical fields.
The correct setting is HDV 50i in your easy setup. If you wish to deinterlace then the Nattress filters are good for that.
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Use the Boris title crawl to make your roll credits. The FCP title tool is ordinary
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The only difference is frame rate and pixel resolution. PAL is 720 x 576 @ 25 frames per sec. Scale accordingly at that frame rate. Done
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Both the HDW1800 and the Decklink card need to have a common reference. If you have a black burst generator, feed it to both devices ref in. The HDW must be set to reference to external, not SDI.
If you have no reference then use the Decklink ref out to the HDW1800.
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As SD is interlaced, I would go with 50i, particularly as you don’t want the stutters of 25p. My advice is to finish to HDCam and make a down converted SD digi beta using a Terranex or similar specialist down converter.
Harware is the way to go. I haven’t seen the Kona but I have compared FCP software downconverts. They are long and yield a soft result. I have found the Sony HDCams do an excellent hardware down convert.
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That’s a bit like asking if there is a script or macro to edit so that you can go home early and let the machine select shots and make them a certain length.
Audio balancing is just as much an art as editing so no, there isn’t an automatic thingy to mix audio. It is a creative manual task, just like editing.
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[Chris Borjis] “if you can make sure your audio peaks bounce between -10 and -6 on your
editing systems audio meters, it should be close enough.”Unfortunately beta SP doesn’t have that much headroom. Peaks shouldn’t be more than 8db above your reference tone.
Ironically, reference tone only really exists for analog dubs. In the digital domain, it is irrelevant.
If your tone is set to -20db on your QT file, then your audio peaks should not exceed -12db if it is going to go to SP beta. You either have the choice of adjusting your master level to make this so or choosing a reference tone level that is 8db below your peaks. The better practice is the former as the dub house will be expecting those levels. As others have said, don’t present higher levels (ie close to 0dbfs) as they will be often too high for analog routers etc at the dub house.
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Depends on the hum frequency and type. A notch EQ can help if it is single frequency sine type hum.
The easiest way to find the hum is to set a narrow Q (the higher the number, the narrower the notch) and add gain. Then sweep the frequency up and down until you hear it amplify the hum. Apply gain reduction to taste.
Starting at 50 or 60 hz is a good idea. If it is hum from a mic attached to a DV or HDV type camera, try 150hz, which is the common resonant hum caused by these cameras.