Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
-
Two things. H264 is not a codec that DVD Studio pro wants. All SD DVDs are mpeg2. That what you used when you selected the correct compressor setting.
Secondly DVDs are standard def so of course it will look degraded from your HD master. I don’t see any particlur problem with your workflow, except trying to use an mpeg4 (H264) file in DVDSP
-
Deinterlacing is going to cost you resolution. It seems many people deinterlace simply because they end up with field order problems and this seems to be the lazy way to fix them. SD is interlaced.
That said, many like the so called film look of progressive so they deinterlace. If you want the look then search the forum here for many recommendations for good deinterlace plugins. Don’t use the FCP one.
Having both HDV and AIC in the same timeline is not a problem. I would recommend changing your render setting to ProRes so that after grading & filters, your final render is in ProRes. Make sure your drives can handle the extra bandwidth by doing a test or checking with a disk speed program. Both Blackmagic & Kona have these testers for free.
-
[Chris Borjis] “then play it back on a CRT that has a 16:9 switch to squeeze it.”
Just a typo I am sure, but the monitor stretches the anamorphic (squeezed) image
-
Both Digital Heaven & Andy Mees have plugins to show title safe for 16:9 and 4:3. Trust these, not FCP
If you use these you can be sure of being tech safe. It is important to note that most broadcasters still require 4:3 title safe within 16:9 programs.
-
The Dolby encoding can take either mono or stereo files. It is probably easier to leave them discrete mono.
-
Don’t know that particular machine but Sonys have menus to set up characters on/off, display type, color and position.
If you don’t have a manual, I am sure you will be able to find a pdf version online.
-
Franco, although you didn’t specify that it is on all shots, I will have to assume that that is the case.
If you go to your filter tab, firstly check that the shift field filter is there and that there is only one of them and it is ticked on. Assuming that there is only one filter and it is on, then what happens if you tick it off and play the rendered shot?
In PAL the DV footage is lower (why the tech heads chose to have DV the only lower field PAL is beyond me). Uncompressed is of course upper. Check also that your original DV files are properly set to lower. If that has been changed then that may be your problem. I often have projects with your workflow, but never had any field problems except on shots with speed changes. There is a different fix for that but I will wait to see if that is actually your problem.
-
If you are comparing a jog shuttle on a VTR to FCP then be prepared for disappointment. FCP doesn’t really jog. It only steps frame by frame at the rate you have noted.
All the jog /shuttle device is doing is to simulate the frame forward and back button on the keyboard, not true jog shuttle.
I found the same issue with the Contour Shuttle pro.
-
[Robbie Brewster] “BBC rules are the best.”
No, they are just different. I have to deal with all sorts from 00:01:30:00, 00:02:00:00,00:02:30:00, 01:00:00:00 and 10:00:00:00.
No one standard is superior. It’s just as Walter says. You give them what they want. When the wankers who set these formats bother to agree on a single standard for first frame, audio reference and peak levels, ID boards and countdowns the world will still turn and life will be just that bit simpler and more pleasant. Meanwhile, I won’t hold my breath but meekly deliver these standards that have nothing to do with the really important thing – content.
-
You can also export your audio as separate aif or wav files. Another option is to export your audio as an OMF. If you are handing over to a sound post facility, this is actually the best as they can have separate clips plus handles.
Exporting aif or wav will lock in your levels and provide no handles.