Neil Patience
Forum Replies Created
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I think you have a few issues here.
By default a file has to have a chapter marker at the start.
So if you have 3 seperate films that make up a single chapter you need to export it as one file or you will have a chapter marker at the start of each film.[Marie-Line Villers] ” Some chapters are more than 3 hours,”
What type of DVDs are you planning to use ? I would not try to fit 3 hours plus on a DVD 5 – As a rule 120 mins with audio is approaching the maximum for a single layer disc at a reasonable quality.
Also your DVD is going to be a bit annoying to navigate. If there was a 3 hour section that was all one chapter it would mean you could not skip along sections at all but only move by ffwd or rew.
90 mins is a much more manageble duration and will give you better quality but you could go to 120 if needs be.
Also I guess 90 mins also gives the kind of logical break point of “Chapter 1 part 1” in a 3 hour section.
best wishes
Neil
http://www.patience.tv -
[Adrian Lort-Phillips] “is there instead a perfectly good way of creating HD material in DVDSP with a custom menu that would play on Blu-Ray players?”
Sadly DVDSP does not support BluRay at all – the HD option in DVDSP is for the old, now dead, HD DVD standard that is totally uncompatible with BluRay.
You can create a basic BluRay in Compressor but it is a “one-shot” deal. By that I mean you can create a disk but no custom menu, it encodes and burns in a single action.
It does give a very basic preset menu option – however I have never tried using it with more than a single file.Others may advise if it can handle 3 files and create a simple selectable preset menu.
I would have thought Toast 11 would be your best option of the two you have.
I use Adobe Encore for BluRay and while by no means perfect it does give you a few more basic options than Compressor.
best wishes
Neil
http://www.patience.tv -
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[Mark Raudonis] “FCP even has a feature which allows you to change the filename at the finder level from within FCP. This is both a cursing and bless. If you know what you’re doing, it can be helpful. In a shared storage/project environment is can create instant chaos!”
100% agree with Mark and the others on this but as I understand it you are not in a shared storage/project environment at all.
You are all on totally seperate machines with seperate copies of the media.
I would not avocate doing this if it was shared media or even opening someones entire modified project expecting it to link to your seperate media wholesale without problem.
However if they send you a project containing just a sequence they have cut – open it as a discrete project – relink to it and once you are happy drag it into your project.
That should be pretty safe as you are never risking what you have done.
I can see I was not clear on what I had written on that and perhaps I misunderstood the environment you were working in.
So apologies for not being as specific as I should have been.
best wishes
Neil
http://www.patience.tv -
Canon 5D shoots in 4:2:0 so converting to ProRes 4:2:2 retains all of the data in the original file.
Some DSLR shooters use ProRes LT as the quality is good and the file sizes are not so huge.
I tend to use 442 as it offers a little more quality but still more than retains the original but you are not going to gain anything by using 442 HQ or 4444 except a larger file.It would be like copying a VHS tape to a broadcast digital format and expecting the picture quality to improve, you simply retain the original but its never going to be better.
4444 (note the extra digit) is designed to support high end files like those used in digital cinema or formats like HDCam SR and graphics files that need an alpha channel, carried by the extra “4”
So using 4444 for DSLR, you are just dragging around huge files for no gain.
Pick a short clip and transcode it to each option – see if you can tell the difference but note the file sizes.
The easiest way to handle the files is to use the Canon plug in, which it sounds like you already have.
Simply use the log and transfer tool – set the preferences to whatever flavour of ProRes you choose and let it batch import all your footage.
One thing to note is that there is a bug in the L&T tool that causes your clips to be truncated if you do anything else on FCP while the process is happening. So once you set it going – go make tea or walk the dog but dont do any FCP work.
You can also use MPeg Streamclip to batch this process or indeed compressor but L&T is easiest and what the Canon plug in is for.
Never a good idea to work with media on your internal drive – they are just not fast enough to deal with it.
Your external will be a good start.
best wishes
Neil
http://www.patience.tv -
Since you are all discreet editors with seperate identical media then there should not be any issues with over writing anything.
As long as none of you change file names at root level then you should be fine.
Just as you can name and rename files in FCP the link to the source file is maintained. So this would hold true on another machine with identical media.
The person who recieves anothers project will likely have to relink media however the files that will be needed to relink will have the original unchanged name so should all be easy to find.
If you are just swapping projects then renders will need to be done again but other than that should be OK
best wishes
Neil
http://www.patience.tv -
Yes its an annoying bug but luckily you can either stick to standard charcters or rename after. Some characters seem OK, but life is too short to try every combination and see exactly which ones upset it.
best wishes
Neil
http://www.patience.tv -
The green bar indicates a real time effect. So your system can play it in real time however is having to work at doing that hence the drop in quality or stuttering.
At the point of the dissolve you are having to access and playback 2 HD streams at the same time. My first thought is that your drive(s) are not quick ebough to access that. Clearly the single streeam is fine and once rendered (also then a single stream) is also fine.
What ProRes codec are you transcoding to ? 422 LT and 422 are usually good enough for 5D footage.
What kind of hard drive are you using for media and how is it interfaced ? Hopefully you are not using the internal OS drive.
For ProRes you really need 7200 rpm drives and firewire 800 is the bare minimum in terms of speed.
Once you start adding multiple HD streams you really need to start looking at faster drive interfaces, esata, raids etc etc or you will always have stuttery unrendered playback.
best wishes
Neil
http://www.patience.tv -
[John Reis] “but when I line up the new 4k clips in final cut to the old 1080 clips — there does not seem to be a diferenc in reolution.”
So you are importing the 4K clips and looking at them in FCP – I assume you mean FCP7?
FCP does not support 4K editing. 2K is the highest resolution that you can edit. So how are you importing and viewing ? Is FCP converting it to 1080 as per your project settings ?
I am also guesing that you do not have a screen that is 4K capable so anything 4K that you look at is being reduced in size one way or another.
If you were to look at the 4K footage on a 4K system and on a monitor that supported that resolution next to the 1080 footage then you would see the difference.
Or just open a 4K file in Quicktime and hit full size – you will see the dimensions of the file are way bigger than a 1080 file.
best wishes
Neil
http://www.patience.tv -
Yes I had heard that speed change worked and was about to do it before I even tried syncing.
However since everything was in nice, neat little chunks and easy to sync I thought I would look first.I wasnt too suprised that you couldnt totally frame match the audio as obviously the Zoom is not locked to anything but as I said the error never exceeded a full frame. But the clips were way shorter than yours.
I have not had to deal with that much DSLR footage where the audio mattered but ss soon as I get one that drifts at least I know the “magic number”
best wishes
Neil
http://www.patience.tv