Neil Patience
Forum Replies Created
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ProRes is the way to go – you can probably use ProRes LT for the Nikon footage or maybe use 422 you dont really need HQ and 4444 is certainly overkill.
FCP does not edit H264 well as you are finding out. Why not do a simple test – just transcode a single shot to ProRes – edit it into a Prores sequence and see how the colour correction works out.
best wishes
Neil
http://www.patience.tv -
Although FCP or Avid supports multiple streams internally as layers on a timeline they both only output a single stream.
So although you can playback 4 or more streams of video at once the output is a composite of them all.If you have 4 seperate projectors then you need to edit 4 seperate films and then the issue is syncing them up so they they all play together to create the desired look.
check out things like
https://www.zachpoff.com/software/multiscreener/
https://www.nasolab.com/arraysync/index.html
https://www.djdesign.com/products/proddvd.html
https://www.videobotics.com/polydvd.htmlshould get you heading towards what you need
best wishes
Neil
http://www.patience.tv -
You need to edit a file called the camera.plist as for some reason Canon do not include all cameras.
I have some instructions here on my website but they are widely available. I dont specify the 500D as I used a 550D as an example so just modify the file with your camera model number instead.
https://www.patience.tv/blog_files/tag-eos-550d-t2i-log-and-transfer-problem.php
Just realised virtully same post above too !
best wishes
Neil
http://www.patience.tv -
There are ways to do this depending on what hardware you have.
If you have a Kona card or similar that allows real time downres you could just play the file out of FCP vis downres and record on a DVD recorder in real time.
That would be quickest and good enough quality for viewing copies.
Otherwise you have to export a Quicktime and then use Compressor to resize and convert to Mpeg.
Time for that depends on duration of file of course but certainly slower than realtime.
Do they specifically want DVDs ? Otherwise you could just export H264 quicktime files or mpeg 4 files and they could play them on just about any computer.
best wishes
Neil
http://www.patience.tv -
It sounds like you possibly dont have the correct codecs installed on the 2nd computer.
What type of file and codec do you export ? What kind of computer are you trying to play them on ?
best wishes
Neil
http://www.patience.tv -
try naming the single digit bins Week 01, 02, etc that usually works
best wishes
Neil
http://www.patience.tv -
There is no reason why you could not do the same with Avid.
The media management on Media Composer is better than both FCP and Premiere.
You could copy all the media you need to a local drive and then simply copy the project (much like FCP) – work on it at home and then bring your modfied project back into work and relink it to the work media.You need to bear in mind that Avid stores media in a slightly different way to FCP in that everything media-wise is essentially in one folder regardless of the project. So you need to use the media management a little more than simply dragging and dropping clips from one folder to the next.
However its pretty easily done once you get used to the workflow. I have moved projects from machine to machine many times without too much hassle.
best wishes
Neil
http://www.patience.tv -
I recently tried using Compressor, Episode and Encore to resize and encode a 1920×1080 ProRes HQ quicktime to an anamorphic SD .m2v file to see if there were any differences.
(didnt try DVDSP direct)I used a 7mbs cbr setting on all three and used them to resize and encode in one operation using the same parameters on each.
Not totally scientific I know but as close as I could do.
The results actually looked pretty similar on pictures although Episode was slightly noisy in the blacks. However on text, credits and name supers Compressor easily had the best quality with the other 2 having badly aliased edges.
So on this very basic test Compressor seemed to have the edge. My guess is it handled the resize better than the other two.
So I would use the high quality setting in Compressor (assuming that gives you enough encoding time)
You will not need further compression in DVDSP as the m2v files and audio files can be directly imported.
best wishes
Neil
http://www.patience.tv -
Transcode the H264 to ProRes.
Some people use 442 LT and find that totally adequate (Philip Bloom usually uses LT according to his blog) others use ProRes422.
You cant really see any quality difference between 422 and 422 HQ (although some Colourists prefer HQ footage if grading) I tend to use HQ if I am going to Color but have the luxury of lots of drive space over fibre but to be honest no real gain) and 4444 is overkill and just a much bigger file for no gain in quality.
best wishes
Neil
http://www.patience.tv -
Just wondering how quickly does it start to become a noticable drift and roughly how far out does it get in say 5 mins or 10 mins ?
I am only asking as I did a job recently that was recorded on 2 5Ds with a Rode NTG3 that was split through a Zoom and to the main camera.
So the camera was recording the Rode as a syncing guide.They were talking head interviews and we recorded in about 8 min chunks on both cameras so I only had 2 or 3 “joins” per interview rushes as each one ran around 20 mins or so in total.
As they were questions and answers it was easy to stop and start both cameras about the same time, they didnt stop the zoom at all.
I actually just matched the waveforms by eye from a clap and found that they pretty much stayed in sync throughout each clip.
I could not get the samples to match exactly on the clapper, they were a tiny bit out and although the samples had drifted more at the end of the clips the difference seemed to be less than a frame in total.
I was fully expecting them to run out quite a bit more.
Maybe I was lucky but the sound ran the same for both cameras.
Sounds like you experienced much worse ?
best wishes
Neil
http://www.patience.tv