Michael Griggs
Forum Replies Created
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It would also be good to jam sync your cameras. They may not have a TC input, but they do probably have a “free run” timecode option. (With the free run TC, they will continuously be at the same time, since Free Run isn’t limited to record time.)
I do mulitcam wedding shoots every weekend, and it’s our SOP. Just set both cameras to time of day (usually 24hr military time), matched down to seconds and frames, and set em going at the same time. They should then only be a few frames off, and at the worst a second or two…..
When it comes time to sync in post, you won’t have to look very far to match the cams up.
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I have also been looking in to the LTO archival deal……Would you mind sharing what sort of pricing level you got for your DNA system?
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Does it sound out of sync? Are you noticing lip sync issues? If not, you may not actually have a problem….
The image that you have shared shows a linked clip (video+audio) that has different starting points. (Notice the top and bottom divided by a line, just like the sequence timeline.)
If you un-linked your clip, moved the audio start point around, then re-linked the clip, you should see the same type of thing. Or, you could hold down the alt key while rolling or dragging the audio (or video) of a linked clip, and the video (or audio) would stay put….all while maintaining your linked-ness…
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The real-time audio tracks can be set as high as 99 tracks in FCP. Note that this number is more than just specific tracks on your timeline….it includes any audio filters you have placed on any tracks as well.
e.g.
if you have 4 audio tracks, and you set your real-time settings to 4 tracks, you will be ok. If, with these same settings, you add even one filter (i.e. compressor, EQ, etc) to a track, you would have to render, because final cut treats each filter like a whole other track.So, make sure you set it high enough to include any audio filters in addition to actual audio tracks. I usually have mine at 16. Your mac should be able to handle that….especially if you have your audio quality (in the RT menu pop-up) set to either dynamic or low.
…..you could also render audio at the item level… instead of the default “mixdown”. If you render one track with the mixdown, if you change another track that is at the same time in the sequence, you would have to re-render your mixdown.
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Does this only apply to text? Or would anything….graphic, still, video clip, etc…. be affected by the loss?
And how much resolution loss are we talking about? Obviously, ANY loss is not optimal, but is it usually noticeable?
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wouldn’t it also be possible to color correct each nested sequence individually?
Duplicate your sequence as a backup, then send it to Color. After you round trip back in to FCP, just replace the clips in the sequence that’s nested with your color-corrected files. Then, your main edit of the 3 nested sequences would reflect the color corrections.
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By “even numbers” are you referring to ….2…4…6…8..etc.? or just WHOLE numbers?
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to save yourself at least a small amount of time and effort (going with Shane’s advice), you could place markers on each edit point. Then, when you export your qt file, include said markers.
When you bring your file back in to FCP, you’ll at least know where all your edits are….saving yourself from the super lame task of scrubbing 2 hrs of footage.
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The audio you are referring to is Master quality audio. 24 bit depth, (twice the bit depth in a usual CD/DVD quality of 16 bits,) is VASTLY different than the “bitrate” of 128kbps that you are looking at. To my understanding, h.264 does not even carry 24 bit audio (I could be wrong).
16 Bit audio (CD/DVD quality) has a bitrate of 1,411,200 bps, or ~1400kbps. The closest you can come in an mp3/mp4 file is 320 kbps. Note that this is not even HALF of CD quality.
So, your client (at least according to the specs you listed) is not asking for really LOW quality audio, they are asking for the absolute HIGHEST quality. Does that make sense?
………As far as why they need/want SD video from an HD source, especially with such a high bitrate of 20Mbps, is beyond me…..
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You have to first realize that Compressor is simply a GUI controller for Apple Qmaster (the ACTUAL transcoding processor). You can start a batch of transcoding and close Compressor and/or Batch monitor and it will still continue to process. You can even restart your Mac and it will try to pick up where it left off.
The ONLY way that I have found to cancel these “un-cancel-able” batches is to open system prefs and go to the Qmaster pref pane. Within that window, there is a button that says “stop sharing”. Clicking this will cancel any batches that are currently transcoding, and restart your Qmaster services.
***COW leaders, please feel free to correct me if I am wrong on this!!! 🙂