Neil Patience
Forum Replies Created
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Hi
I dont really use Compressor that much and its ages since I had to deinterlace anything so I would hate to send you on the wrong path.
I tend to only have to do odd shots and for that often use the Nattress deinterelace plug in as its better than the FCP one.
I couldn’t say how that compares to Compressor though.
Going to be tricky to judge on a computer monitor.Check this out https://www.digitalrebellion.com/blog/posts/using_frame_controls_in_compressor.html
Ignore the frame controls but about half way down it gives instructions on deinterlacing – I think the “Best” setting will be a long render but see how you go.
Also check this out – depending on how many cores you have this is a useful way of speeding up compressor with a virtual cluster. I have used this for DVD encoding and it certainly speeds things up on my 8 core machine.
https://www.devia.be/news/article/setting-up-a-virtual-cluster-to-speed-up-compressor/hope that helps – sorry I am a bit vague on that point.
best wishes
Neil
http://www.patience.tv -
Thats a shame – well if its a constant sync error hopefully you can easily slip the audio back into sync and not have to keep working out different offsets.
If the raw captured QTs are like that on 3 computers its a pretty safe bet it went wrong in capture rather than anything your FCP is currently doing.
What a pain – hope its not too much grief for you.best wishes
Neil
http://www.patience.tv -
Thats a shame, well try ProRes as you don’t want the new material being Intermediate codec. You wont lose much that way.
I guess also shoot new stuff in SD so you only need to zoom the old stuff up a bit. Trying to get it to HD might be a tall order.
Compressor will likely do a better job than FCP on the scaling. So experiment with that.best wishes
Neil
http://www.patience.tv -
Hi Martin
how big does the speck appear to be? – wonder if this may help you
https://www.digital-heaven.co.uk/dh_reincarnation
best wishes
Neil
http://www.patience.tv -
Hi Julienne
As Andrew suggested its best done via Compressor. So I would edit and finish your project as interlaced. Then export a self contained quicktime of your final sequence and then use that to create a deinterlaced version. You would then have a master QT file of both interlaced and deinterlaced.
From there you can easily make a DVD of each (or even just a section of each) to see which look you prefer viewed on a TV.
I dont really have a custom setting for that I can give you but Andrew or Dave or others may well.In terms of film look, as I said is somewhat of a holy grail. However my favourite plug-in for this is Gen Arts Sapphire. There is a film look plug in there that can give pictures a really nice look. Sadly Sapphire is not cheap but you can download a full working demo for 30 days or you can rent on a monthly basis.
Maybe someone else has a different plug in suggestion but thats my fave.If you wanted to give that a try I would wait till you had finished your edit then download and experiment. You would have 30 days to play around.
If you get something you like, export interlaced master as above and deinterlace that via compressor.best wishes
Neil
http://www.patience.tv -
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[Andrew Kimery] “I think what you are mentioning is more of frame rate thing than a progressive vs. interlaced thing. For example, I think 720p60 is better than 1080i60 for a few reasons but 720p60 looks nothing like 24p.”
I get your point and I suppose it is frame rate thing. The point I was trying to make though was that in terms of Juliennes footage, his choice of wanting to de-interlace was an aesthetic one. Generally people associate progressive footage with a “filmic look” I have been in so many edits where clients want a “film effect” and given that the frame rate is fixed then the only variable is progressive v interlaced. I work in PAL land so generally the choice is 25P or 50i. So one frame rate.
(720 of any flavour is never used.)To be honest when I see how many people have shot on 3 cameras with one at 29.98 one at 59.94 and one at 29.97
I am glad I never have to deal with that 🙂best wishes
Neil
http://www.patience.tv -
I would have thought the Brazilian TV channel would have some kind of spec that they require material to be delivered in
For TV 960×540 is a totally non standard file size, its too small for SD 16×9 so expanding it to a TV frame size is going to add to the loss of quality.
I would say that you should go back to the camera material and re-edit which may or may not cause you huge grief.
ProRes is the codec of choice for FCP
best wishes
Neil
http://www.patience.tv -
[Matthew Davies] “No, the canvas is set to something lower than 100% (I don’t know what exactly, but it’s definitely less…)”
Well thats going to make things look more blurry – try viewing at 100% to check how it looks.[Matthew Davies] “and I can’t have a credit scroll longer than about 2 minutes. “
You could join 2 or more rolling captions together on separate video layers as long as the speed matches[Matthew Davies] “So, basically, I can’t and shouldn’t do it this way? “
Its not the ideal way to achieve this as you are finding out. You may get “out of memory” errors due to the large jpg size. However if its the only still in the sequence you might get away with it. (FCP does not support anything larger than 4K)
If you view at 100% you will get a better indication of quality
Are the captions on black ? I wonder if it would be any better if you created text on a transparent background and saved as a transparent tif.best wishes
Neil
http://www.patience.tv -
Hi Candice
I assume when you look at the DV tapes themselves they don’t look out of sync – just to eliminate any odd issue there.
Given that they are DV then you should be able to simply use a DV easy set-up. However when you drop your first clip onto your sequence FCP should you know if the settings don’t match and say do you want to change the sequence settings to match. Say Yes or Enter at this point. Your sequence should then match so that will tell you the original settings.
In any event you should be able to see the source audio properties in the audio rate column of your project window. So that will tell you the sample rate.In general I would avoid using USB drives or internal OS drives for media. Even though DV is not really taxing on the system those drives are generally too slow and you may get issues there. Go for Firewire 800 drive as a minimum for your media that will easily handle the footage.
Firewire is the correct way to capture DV so should be no issue there.
You are correct about sample rate incompatibility giving sync issues but if you let FCP do the settings as I describe above that eliminates setting mismatch.
Your Mac spec is totally up to the task.
Might be worth doing a prefs trash – can help when odd things happen use this https://www.digitalrebellion.com/prefman/
Hopefully that might help you diagnose your issue.
best wishes
Neil
http://www.patience.tv