Neil Patience
Forum Replies Created
-
Yes it would make sense to do that, because that setting assumes the file that you are importing is correctly field ordered. Of course in progressive the fields are exactly the same so its kinda hard to go wrong.
The other options – upper (odd) and lower (even) would apply when you need to put something odd field into an even format or even field into an odd format respectively. I guess its like manually setting the shift field in FCP if you like.Hope that makes sense. Too many odd even ups and downs for me 🙂
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal Symphony 6.5 FCP7
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini Symphony 6.5 FCP7 -
You are correct in that if the field order for upper field footage was reversed to lower (or the other way round) then things would look horrid, motion would become very jerky. You used to see this in FCP quite a bit where people mixed DV footage with say Digibeta footage and while FCP would try to add the shift field filter in the right places it would sometimes get things muddled.
This was not always apparent until viewed on a proper monitor when it was often too late!.Films may have gone trough a frame rate conversion but the actual progressive v interlaced was fine.
Back before video cameras could shoot progressive I used to cut a lot of music videos and anything with a decent budget was usually shot on film precisely for the filmic look and transferred to tape (Telecine) to edit. They would usually shoot the film at 25 so it was a frame for frame match with video. Which in those days was 1″ or Digibeta, both interlaced and no heavy duty conversion needed.
Of course there was no mixing of any interlaced footage generally so the need to make them match was not there.best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
No problem and yes if you are used to using 75% bars which is normal US spec then 100% bars do tend to look super bright. As I am in the UK I am the other way around and whenever I see 75% bars they always look a shade dull. Hey ho 🙂
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
[Rosie Walunas] “But I’ve read progressive footage in interlaced programs can have a shivering look to it.”
I guess it depends what you mean by “shivering”. Progressive footage has a “filmic” look and in an interlaced timeline will retain that look in that because each field is identical the motion is every 25th of a second and not every 50th as in the case of interlaced. – I am in PAL land so I think in 25s and 50s but same difference.
So it may appear less “smooth” because it imitates the look of film (which most people find very pleasing)There is no issue with doing this, think of every single movie shot on film you have seen on TV. You are not aware of shivering in that case.
I think it depends also on how you monitor it. You really need an external video monitor and not just a computer screen to make a proper judgement.
Computers mangle interlaced which is why when shooting for the web progressive is the way to go and people always say interlaced looks bad on their computers.For broadcast however they usually require, in my case a 50i master (or 25psf) But you can still shoot progressive 25P and put it into the 50i sequence without issue.
I sort of missed the fact that you are perhaps trying to get the interlaced and progressive footage to look as identical as possible as I was concentrating more on the field order.
So the tutorial is suggesting a workflow to make the progressive footage look properly interlaced, which as you can see is quite a business as trying to get a temporal difference between frames where there is none is not that easy.
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
I know it sort of mad replying to a post with first something that doesn’t work but Neat Video is indeed a really excellent de-noise app but as Glenn says no Avid version.
They support just about every other NLE there is so maybe email them and suggest an Avid version.
I spoke to them a while ago about this and they said if enough people asked they would look into it.So hopefully if enough people request it they will, and Avid users can benefit from it as well as everyone else.
https://www.neatvideo.com (don’t be fooled by the clunky website its a great plug-in.)
Magic Bullet do a de-noise plug-in https://www.redgiantsoftware.com/products/all/denoiser-II/
However I have not tried it so can’t say how good it is but there is a free trial. Might be worth a look
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
With the exception of HDV (or DV) footage which is lower field first, just about every other format is upper field first.
As Peter says your progressive footage has identical fields which have no temporal difference between them so each field is identical and this will slot in just fine.best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
Hi Justin
Pretty much all UK and many European broadcasters request 100% colour bars, By this they are generally referring to 100% luma and 100% chroma.
So the 100/0/100/0 would be the ones to use for 100% bars.The 100/0/75/0 refers to 100% luminance but 75% chroma. These are generally known as EBU bars so it seems you cant go wrong if they accept both
Hope that makes sense.
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
I have had this happen to me on the odd occasion where autosave simply has not worked. It is pretty rare but enough to get me into the habit of hitting ⌘ S fairly regularly. I tend to set my autosave interval to be 10 mins, not that that helps when it fails.
Sadly I know this is not an answer to your problem. Obviously make sure your autosave location is where you think it is but other than that I fear that there is nothing you can do if t really has not been saving.best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
The single user license states
This License allows you to install and use one copy of the Apple Software on a single computer at a time. This License does not allow the Apple Software to exist on more than one computer at a time, and you may not make the Apple Software available over a network where it could be used by multiple computers at the same time.
However Michael is correct in that it does allow you a 2nd install however this is meant to be for “back-up”
If you install same licence key on 2 machines that are on the same network you will get a warning that says something along the lines of:-
There is already a computer running using that licence key – and Final Cut will then close on the 2nd machine. Of course you can get around this by not having them network connected and then they will both run fine.
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini -
Hi Stu
What is the make and model of the monitor that you have rented ?
Thats going to help with how best to connect it and configure it.
Thanks
best wishes
Neil
http://www.patience.tv8 Core MacPro, Kona 3, Tangent Wave, Mackie Universal
i7 2.7 Gig MBP (non retina) 16Gigs Ram Blackmagic Monitor Mini