Michael Sacci
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COW Coin
Forum Replies Created
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Burner could be bad, disc can be out of balanced, the moons gravitational pull maybe effecting certain discs.
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Do you have a PAL system to check the quality of the encode, I’m guessing not. If you do not you should never be converting standards yourself, how do you if you are good.
But do a search here and you will find most people telling others there is normally no need to convert NTSC DVDs to PAL, most people in PAL countries can playback NTSC just fine.
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To add to the confusion.
I think when most people think of Progressive in production they are thinking/talking about the way the image is captured, not how the image is sent down the pipe. What is happening at the sensor. Is the camera taking a solid (Progressive) image every 30th of a seconds? Or is it take an interlaced 1/2 image every 60th of a second? If a producer is wanting/paying for a Progressive I would think your camera needs to be taking a Progressive image, now if the system breaks that image up into 2 halves that is not as big of a deal (at least to my thinking) as de-interlacing a 1080i signal.
Just my 2 cents.
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For the T2i I would start thinking about long exposures vs time lapse. And for video I would want it to be video and not time lapse also.
I have never taken pics of meteors but for me it would be like really sparse fireworks, in which I build the color (light) over time.
Just my 2 cents.
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There are a ton of threads that talk about the iMac and its limitations. If you never plan to go outside the box, external monitor, faster/redundant hard drive RAIDs. You can do fine with an iMac but the default answer for most people is to get a MacPro because of all the flexibility it offers.
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[Don Greening] “Compressor won’t recognize the iMac as a “cluster?””
And what are his settings in Qmaster, is it turned on? -
I worked at a place that used this procedure all the time, edit sections and then copy and paste all the edits into a common sequence when done and we never had this problem. Often I was pasting 10-15 sections with a ton of edits, so it should work.
The first thing I would check is all the seq settings of the new sequence verses what you are coming from. Do they differ in any way?
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The bars are part of the image, the camera does not shoot 16:9, you can do a electronic conversion with the squeeze setting or letterbox setting gives you the 16:9 look but in a 4:3 frame. Most software solutions will soften the image, and depending on focus and exposure it can go really bad really quickly.
Taking the hardware suggestion a bit more indepth, I have had great success using a 2 AJA system. The footage is just capture as is (4:3) into System one via FW. Then System with a Kona Card plays the 4:3 footage out with a SD to SD conversion set to Anamorphic (this is removing the black bars). Then system to with a Io or any other SDI capture device is set to capture SD as anamorphic. These are the files you use. This will give you the best quality and it is super fast (real time of course).
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Yeah there is a real fork in the road with graphic cards.
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10-bit color (which is what ProRes is. So you either work in a lower or higher bit depth. You lose a higher lever but I forget if it is 16 or 32 bit.