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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[Zane Barker] “I am guessing that the files were recorded on to a DTE Drive that records in the m2t format”
Ah. If that is the case (and don’t you love posts that give you so many choices to guess)then reading the ClipWrap blurb that Steve linked, it says “With ClipWrap, m2t files are immediately converted for native HDV editing in Final Cut Pro.” So are they are converted to 1440 x 1080? If so FCP can’t take advantage of native 1920 and you might as well shoot on tape.
I have only ever had V1U tapes to work with which of course are 1440 x 1080 HDV.
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[Jeremy Garchow] “So, what do you do with the stock tracks?”
That’s very different. If you are adding material like dialog to a music underscore, then of course you have to mix it.
I am currently playing out a few copies of a doco to digi beta so I can’t check my FCP for meter clipping at the moment. Personally, I don’t use the FCP meters as a definitive guide. It isn’t a serious audio editing & mixing tool so unlike the waveform & vectorscope, I am less concerned at a non standard, but probably safe, calibration.
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[David Roth Weiss] “Nope, Steve has it right. That app takes .mt2 files and wraps them as QT files making them editable in FCP without transcoding.”
The original post says “I;m trying to edit footage shot on the Sony HVR-V1U”
That’s an HDV camera. Why she wants to convert to 1920 x 1080 m2t files is the issue. Having achieved this she will need to convert them back to HDV with the software Steve has pointed out to edit in FCP which is pointless. That’s why I suggested she stay with HDV from the camera originals.
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Steve, the original is already HDV. The query was to convert from 1440 x 1080 to 1920 x 1080 m2t which FCP can’t edit with. This software can convert it back into HDV which defeats the purpose.
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Jeremy, I didn’t see any mention in Isobel’s case that there was a need for a broadcast spec delivery. If it was simply for projection or DVD, then again, no need to change levels to broadcast spec. It should be remembered that dropping a 16 bit signal down by 10 db is effectively only using about 10bits of the signal. It has always irked me that the reason we throw away the best part of a digital signal is because Sony arbitrarily set -20db as a 0VU equivalent on their first digital machines. The lack of headroom in analog audio routers is why broadcast spec chose a -10db max. In our modern digital world, there is no longer a need to do this but it persists (a bit like 29.97 and DF NDF madness).
Using digital to its full range is preferred when not dealing with broadcast spec. Digital sound for feature films can use the full range as CD audio does, so you create issues for mastered files if you drop the levels. It can effect the way audio fades into its noise floor.
A lot of work goes into dithering to make smooth fades into noise floors on full range signals and you can change that by doing a simple gain reduction if FCP. At least FCP uses floating point calculations so that is not a tragedy.
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[Jeremy Garchow] “Can you please explain the thinking behind this? I guess I am struggling to find the logic in this.”
If a file has been delivered to an FCP edit suite and it is a mastered final, then there should be no further tampering with it. For example, I often supply a mix that will be dropped into FCP before the final HDCam or digi master. If my levels are changed, then a tech reject is one possible consequence.
A pro sound studio should be the ones responsible for delivering a mastered file to the correct specs for that project. If you had spent hours grading a show and a dubbing house changed your peak whites by 1%, you would be livid. Similarly, we audio pros don’t want levels changed either.
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Emma, to answer your other question, you can apply filters to a lot of clips at once. I would suggest you get a Nattress filter looking right and then you can apply it to multiple clips in a few easy ways. I usually then drag the filter from a clip in the viewer to a bin (which I normally make and call Grade). Other filters like the three way Color Corrector can also be dragged in a named.
Then select a group of clips in your timeline (as many as you want a collection of filters to be applied to) then highlight the filter (or multiple filters) and drag them to the selected clips in the timeline.
The other way is to copy a clip, select a group of clips in the timeline and then right mouse click and select paste attributes. Tick the filter box and then enter to paste.
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[Angela Zumbrum] “I haven’t heard back for my last post. Nothing has changed. Do you have any suggestions as to what my “Easy Set-up” should be set at with this type of camera?”
Sorry Angela but I am in Australia and try not to work all night.
If the camera is playing in the viewfinder and the log and capture is giving you control but the picture is blank then all that I can think is that your preference files are corrupt and you should trash prefs. Knowing the camera is displaying and firewire is seeing the camera, it is the most likely problem. The trash prefs mantra is usually the first one offered here on the forum so if you have never done it, a search will help. I use FCP rescue which is a great little app for this purpose. It is free (thanks Anders!) https://fcprescue.andersholck.com/
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I can tell you that international broadcast distributors only want a full height (also known as anamorphic) digi beta. (this is what you mean by squeezed.) I have never been asked to create a letterboxed version.
However as everyone has stressed, you must ask the specific broadcaster.
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A mismatch between sequence settings and your Easy Setup settings will cause this behaviour with a Decklink card. However, hooking and HDTV via DVI – who knows. It is certainly not a recommended way to externally view as issues like correct display of interlace and color balance will be a problem.
If your HDTV has HDMI, then a Decklink intensity card might be a much better option. An alternative is the Matrox MXO. A search of the COW forum will bring up Shane Ross’s article.