Michael Nichols
Forum Replies Created
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Thanks guys! Believe it or not, I think the speed up actually HELPS the pacing of my film. Huh, don’t let the editor know I said that…Wait, I am the editor!!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
I am compressing with Compressor to go from 23.98 HD to 625i25 (50i PAL?)
When I make my pro res file, should I keep the dimension 1920×1080 and let the Kona downconvert and scale?
This way, I would only have to compress one file, correct? I have to deliver letterbox and anamorphic PAL digibeta and I am originating 1080/23.98 Pro Res 4444.
Right now, I am running my file through compressor with 2 settings:
625 4:3 letterbox @25fps (100% of source speed)
625 16:9 Anamorphic @ 25fps (100% of source speed)Should I do something different?
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Wait…is that because I am looking at the 23.98 HD master file in a project set up for PAL? As a test, I did a .1% speed change to the HD 23.98 master file in my PAL 25fps project and it snapped exactly to the length of the PAL file! This is crazy enough to make even the sanest of men pull their hair out!!
Glad it’s starting to make some sense though…
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Ok, here’s one I cannot figure out: While the same audio clip keeps sync with each other (23.98, 25, 29.97) the video files are not the same length! How is that even possible?
My HD master movie file is 1:29:48:09
My PAL master movie file is 1:29:53:18Yet the same audio file (when chosen under the proper easy set up) syncs perfectly to both these files!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
The original was 24fps scans interpreted as 23.98 with Gluetools. I edited and finished at 23.98. For my PAL conversion, I used Compressor (with keeping the playback at 100% of original) and the results were pretty solid. For NTSC, I let the Kona 3 do the downconversion out to Digibeta.
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
I used compressor and set it to maintain the speed at 100% of the original and maxed out all the settings. I have an 8 core with a virtual cluster set up and it took about 13hrs to transcode. The results were pretty awesome and I didn’t need to do anything to my audio files.
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Oh Snap! That worked!!! You’re a genius!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
[John Pale] “A simple workaround…drag the file you exported back into the FCP Browser, the load it in the Viewer.
Go To the Modify Menu and select “Timecode”. Manually enter the start time of the sequence. Voila. You now have proper timecode.”I tried this, but the file still shows a zero start time in quicktime. It’s correct in FCP, but not QT.
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Jumped the gun a little on that. It actually brings me to the 1HR mark in my Quicktime, which is actually the 2HR mark in my sequence. Back to square one. Any info on how to modify the timecode on a quicktime file to start at 1HR?
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Nice little workaround (or solution in my case!).
MovCaptioner has a “Shift to 1HR mark” feature which will basically allow me to work on this file with timecode 1HR behind! Good job guys!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com