[Neil Ryan]

Is there a way to set the Timewarp motion effect (below) to multiple segments at once? (MC 7.0.4)
I’ve got a Seq that mixes as much as 50% interlaced footage into my progressive Timeline. (We’re working in Progressive because the output is for a file, for internet viewing.)
It’s time-consuming to have to change each segment’s parameters separately in the Motion Effects Editor. The quality improvement is very noticeable, which explains the huge render times…

[Stacy Lincoln] “The Timewarp motion effect (adjusted with the Motion Effect Editor) can be used to deinterlace with the following settings:
• Type: Both Fields
• Source: Interlaced
• Check Adaptive Deinterlace Source
• Output: Progressive

“

[Neil Ryan]

or is it PROMOTE TO 3D rather than add 3D WARP effect?

[Neil Ryan]

John & Shane, why was Dan not advised to get the original rushes and ingest them himself? (I’m not saying that’s the best/better/correct way; I’m just curious.)
Neil.

[Neil Ryan]

Interesting read Roger, thanks for that, although all the suites here are on Mac systems. Always helps to understand the workings behind things.
The Effect does work for us and your link probably explains why the Effect didn’t translate in the upgrade from 6.5 to 7.04 on our Macs.
I trust I’m using it correctly, now as I clearly wasn’t in 6.5. I just happened to be getting away with it. Shows what a handy reference the User Guide can be, no matter how long you’ve been using the gear.
Cheers,
Neil.

[Neil Ryan]

Don’t know what version of MC it arrived in (I have 7.04) but there is a RTAS tool for that in Media Composer.
It’s under ‘Stereo Soundfield – PhaseScope’
Quick & easy way to check your stereo audio files within Media Composer, if that was what you were wanting.

[Neil Ryan]

[Michael Phillips] “What AMA does do for you is once linked, go to source settings and look at the histogram to see what your levels are set to and be able to set it correctly on the fly with no need to re-import. From there, you can transcode which is faster than an import anyway. “

But note that this workflow doesn’t work for QuickTimes with alphas. They can only be Imported, not linked&transcoded. More specifically, they can be AMA linked but the AMA link cannot be Transcoded.

Neil

[Neil Ryan]

I’m not in a position to try this now, but I’d thought I’d mention it as it may get your or another reader’s brain going…
I wonder (because I thought I’d done something similar years ago) if you could do something like:
Copy your Sequence.
Simplify the vision to cuts only, no graphics etc, one video layer, no audio.
Export EDL.
Modify (with text program) the EDL to change V to A or AA – so it’s an audio only EDL.
Bring the EDL back into Media Composer (I think through EDL Manager?)
Modify those master clips, as necessary, Relink
Cut that Audio only Sequence into yours and work from there, deleting excess segments, extending others etc.
Just wondering…
Neil.

[Neil Ryan]

The information you have been given is correct. And, while posting everything as Progressive is not wrong, you do need to bear in mind that the television broadcasting process is interlaced.
Interlaced vision is far less forgiving of fine details.
Ideally, you should be watching your product in an interlaced environment even though you finish in progressive.
I’m in a similar boat; we finish all our television as progressive, but I watch it via a Blackmagic card on an interlaced monitor. Sometimes we have to blur or unsharp some vision to get rid of flicker or moire patterns that appear on the interlaced screen that don’t show up in a progressive environment. (Not even on the same monitor, which is proper broadcast monitor and can be set to Progressive.)
Neil.

[Neil Ryan]

[Jake Cauty] “program for broadcast.” and “I’m in to audio mix, colour correct, graphics etc”

With respect, I’ve never worked with nor met anyone who can sound mix to broadcast standard and colour grade to broadcast standard. That’s normally two different people. Perhaps you are a rare talent – and I will accept that, if you are.
My point being, it’s for broadcast and there are standards to be met, or your program will be rejected. You are comfortable with the challenge ahead of you?
Neil.

[Neil Ryan]

GLITS is an acronym for Graham’s Line Identification Tone System
Download the GLITS from the DPP website:

https://www.digitalproductionpartnership.co.uk/downloads/standards/

Neil.