Neil Patience
Forum Replies Created
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If memory serves you could play LoBand tapes in a HiBand machine without problem. If you tried it the other way around then you would just get a black and white image.
Been a long while since I had to use a Umatic though.best wishes
Neil
http://www.patience.tv -
Hi Shari
Yes I forgot to mention that the render was going to be a while. You can export an “uncompressed” Quicktime but as you rightly point out its already compressed but there is nothing you can do about that so you can only do what you can do.
As you say, live and learn but you are no means alone. The proliferation of formats, codecs and frame sizes has lead to it being much easier to make a mistake especially as often you need to end up with a variety of formats.
Hope it works out – happy rendering 🙂best wishes
Neil
http://www.patience.tv -
Hi Shari
You cant just drop an NTSC sequence into a PAL timeline and render it as you have obviously discovered. To be honest the correct and best way to deal with this is to create your NTSC master and then have a hardware standards conversion using Tenerex or something similar to create a proper PAL master.
I have used the Natress Standards Converter plug in and it does work. Although I have never used it on a whole show, more usually just odd clips that I have needed to convert. However its certainly worth a try. I would export a quicktime of your complete programme and then try using Natress on that as a single clip.best wishes
Neil
http://www.patience.tv -
All of the files that you have are MPEG based and are not ideal for directly editing in Avid. (or FCP for that matter) So you need to convert them as you have already been trying to do.
It looks like they are all standard def files. The .M2V file that you mention here is an MPEG video stream that would usually be used for DVD creation. It will only contain video. You should be able to open that in Mpeg Streamclip. I wonder if perhaps you do not have any Quicktime Mpeg playback component installed ?
You may need something like this https://store.apple.com/uk/product/D2189Z/A/quicktime-mpeg-2-playback-component-for-windows
There are free versions around too but I would look in that area if you find you cant playback MPEG based files. This may explain why Quicktime would not play the files.
Have a look at this page here https://avid.force.com/pkb/articles/en_US/How_To/en350179It explains various ways of using MPEG files with Avid. Click on the link to the Avid MPEG Workflow Guide Jan 2010.pdf That gives you lots of advice on various ways of working with MPEG files in Avid.
I hope that helps.
best wishes
Neil
http://www.patience.tv -
You cant use the Pan and Zoom tool for video but you can pan and zoom it using a variety of tools in the effects palette. For example look in Blend for 3D warp or perhaps in image for resize. You can keyframe moves on the video. Obviously bear in mind that any excessive zooming/panning is going to affect the quality but those are the places to try.
best wishes
Neil
http://www.patience.tv -
First of all did you edit the H264 files directly ? Apologies if you transcoded but It sounds like you went straight for the H264s which is a massive No No. You will find thread after thread here with people who have neglected to transcode their DSLR footage to ProRes, edited the H264 and got themselves into unholy messes with all kinds of odd behaviour from FCP.
Also 6 mins of 1080p H264 should be around 2Gigs not 70MB so something is odd there – did you export a reference movie rather than self contained ?I didn’t watch “Mr Robots” instructions but would suggest Digital Rebellions Pref Manager to trash prefs. You can find that here https://www.digitalrebellion.com/prefman/
My feeling is that your woes are caused largely by editing the H264 directly as this kind of crazyness is often caused by that. It may be prefs corrupt as well.
Check out Shanes tutorial here for DSLR footage – might save you. https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
Transcode your T3i to ProRes LT and you should find that everything becomes much more happy.
I hope that helps
best wishes
Neil
http://www.patience.tv -
I came across some of these .MOD files a while ago. As I understand it they are just MPG files that have a modified file extension. I think just a handful of JVC, Panasonic and Canon cameras used it for a while.
If I remember correctly you can simply change the .MOD file extension to be .MPG and then MPEG Streamclip will be happy with them and you can convert them to whatever Avid codec you want to work with.Sorry I am slightly vague on this but as I remember thats all I had to do to make it work – I hope I am right.
best wishes
Neil
http://www.patience.tv -
One thing you might want to consider is something like this https://www.matrox.com/video/en/products/mxo2_mini_max/
I have used the Matrox for accelerated H264 creation and it certainly flies though creating the files.
They are not my favourite I/O boxes but for H264 creation they knock hours off your time especially if you are doing this week in week out.best wishes
Neil
http://www.patience.tv -
I guess when you say “smaller files” you have the ProRes files in mind. FCP works best with ProRes so you are totally correct to use that for editing.
Although the H264 files for instance, that your 5D produces are much smaller in size they are much more heavily compressed and H264 (and MPEG 4) are not good formats to edit with in FCP largely because they are not frame based codecs.
So when you transcode to ProRes you will always end up with a much larger file. You dont say which ProRes you are using but one thing you could do is use ProRes LT. That is a slightly lighter codec than 422 or HQ and is certainly sufficient to preserve the quality of the cameras you are using. You will find the file sizes slightly smaller if you do that.You are using good quality cameras producing full HD images and thats always going to produce large file sizes. So in terms of your edit you are already using the optimum quality.
You can edit with H264 directly in PPro but there are still limitations with what it can handle so you may want to look at that especially if you do a lot of AE work.
All in all though you are not really doing anything to really compromise the quality for HD certainly not for YouTube.
best wishes
Neil
http://www.patience.tv -
Certainly in London Aindreas’s observations totally match what I am seeing. I work largely in broadcast cutting light ent. comedy, sport and Avid totally dominates.
Not seen a single facility even giving X a try. Indeed Avid seems to be picking up where some have switched. But as others have noted FCP7 is still used.
A couple of examples, Air Post, part of Air Studios were all FCP 7, Color etc 18 months ago. Now, although they have retained a few FCP seats, they have switched largely to Avid.
ITV, which is one of Europe’s largest broadcasters is all Avid for programme making, around 50 suites. However the promo department, ITV Creative, chose to go FCP 7 around 2005. They have something like 15 small cutting bays and 4 full broadcast spec suites. 4 ingest stations. I was there a couple of weeks ago and they are pretty much decided to go to Avid, which given how many they already have makes sense. They were considering PPro but given the existing infrastructure it seemed less likely a choice.
X certainly so far has yet to have any traction at all in my environment but I guess time will tell.best wishes
Neil
http://www.patience.tv