Nick Meyers
2
Premiere Pro Coins
Forum Replies Created
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“Guys…. Dude said that he is down-converting it to DVD”
exactly.
and i think 200 percent is about right.
maybe in your case it was noticeable because you blew it up in the HDV sequence,
then squished it all back down to SD.
fair enough!i did a show a while back that was partly shot on HDV, but was to be finished as SD.
we did our on-line in an SD environment,
and any shots that needed to be blown up, we re-captured as HDV (where possible)
and scaled up in the SD sequence.
looked great!a lot of these were chopper shots, so we got amazing zooms in and out.
anyway if you have the time to do this, it’s worth it.
or maybe the original poster should be cutting in an SD timeline.nick
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yes, setting fields to “none” does do a de-interlace of sorts,
but it is probably the worst quality de-interlace you can get!i did a test a while back as i was looking for a quick-fix way to de-interlace my whole show,
INCLUDING the titles, and motion effects.
no surprise, but there is no quick fix!to achieve what i want, i NEST my timeline, and apply Graeme Nattress’s “Smart de-interlace”
that is the best quality “in-FCP” solution.
working in FCP means i can tweak individual shots if needed, unlike compressor.cheers,
nick -
my experience with film-based projects has been in the PAL 25fps world,
so take it with a grain of salt.there’s a lot of useful info in the Cinema Tools manual as well.
i printed that out prior to my first film job 5 years ago!a couple of quick notes:
1.
CinemaTools (CT) is happier with ALE files than Flex files.
carries more info
get both on your first few days of telecine and see which works best for you.2. (FWIW)
in my 25fps world, we can get by without using CT at all, or not relying on maintaing CT databases.
we can import the ALE file into FCP,
“Conform” from 25 to 24fps,
and then al we need to provide the neg matcher is an EDL.i don’t know if that holds for 29.97 / 23.976 workflows.
3.
it USED to be that FCP didn’t like subclips in complex workflows.
(large projects, multicam rushes, merged rushes.. all the things you do in a feature film)
that may have changed, but it might be worth testing, or asking around about this.
coming from avid you may be expecting to use a sub-clip based workflow.i haven’t used subclips in a large FCP project,
and the last time i saw someone try, it led to disaster,
but as i say, don’t take my word for it, ask around.good luck,
nick -
“Trying to deal with thousands of stills in FCP will bog the program down.”
i’ll second this,
which is to say NESTING IS BAD for what you want to do.
as John says, use QuickTime to convert the Image Sequences into videoto preserve quality of the image sequence, PLUS the alpha people are suggesting Animation codec,
but that’s pretty unwieldy to work with in an off-line.i understand that going OUT of FCP, Animation is the only codec that carries an Alpha,
but coming in?
surely other codecs can carry an alpha channel?nick
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you don’t want your Project files to get too big.
but how big is too big?i used to keep them way small, but as systems improve (Software, Hardware, or both?) i’ve been working with larger ones, some hovering around the 100MB.
as this is something that is changing, it’d be good to hear what others recommend.
a few of my longform thoughts:
SEQUENCES are one of the things that cause projects to bloat,
so don’t keep to many old versions of timelines in your edit project,
peel them off into archive projects.a lot depends on how big the project (not project FILE) is.
how many rushes, if they are multicam, or merged clips, etc.
the more data FCP has to keep track of the bigger the project file will be.i tend to keep one set of rushes, plus the latest cut, in a project.
on the feature docos i’ve worked on i’ve been able to keep it all in one project.
the last drama feature i cut i had to split into 4 “Acts” and had each one in a separate project.
a bigger studio picture i worked on a while back was initially split into about TEN separate sections,
but had to be further split as it grew.we have regular screenings, so they become “Landmark” versions of the project that get copied & dated,
then i keep working in the original project.cheers,
nick -
H264 is not an editing codec.
you want to get away from that.if you have Prores as an option, use that.
cant remember if that was in FCP5… i suspect not.AIC never got great raves, so while i’ve never used it myself, i;d suggest looking for an alternative.
8bit uncompressed can be played back off FW800 drives,
so give that a go.nick
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“Is there a way to export all audio tracks at once other than via OMF? ”
yes.
1 open the sequence settings, go to the “Audio Outputs” tab
2 set up the outputs so each track, or pair of tracks, has a dedicated audio output.3 back in the sequence you patch each track to an output by right clicking on or near the lock icon on the left of the timeline.
(this is boring but you really have to double check this as there is no external indication of what tack is patched to what output)4 export as AIFFs.
SPLITTING OMFS:
FWIW, rather than splitting horizontally (as tacks), i split my sequences vertically, by copying the sequence into smaller segments.
this works for me as i’l have disproportionate “volumes” of audio on each track:
heavy dial use on A1,2,
bit less on A3,4, A5,6
and lots of air on the fx & music tracks.your situation is different, i know.
cheers,
nick -
there was another post about this issue recently.
at least, i think i saw it here on the cow fcp forum.anyway, you are not going crazy, it’s a real issue.
the good news is that the post also included a SOLUTION,
which basically was a newly re-written simple 3D filter.the bad news is i’m a bit fogy on the details.
i think it was Andy Mees who wrote the filter.
check out his”Better 3D”, it might be what you need:https://web.mac.com/andymees/Free_and_Easy/main/main.html
or search the cow FCP archives.
nick
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one other important point:
if you export from FCP as a QuickTime Movie, you should retain TC and Reel# metadata.
if you export with QuickTime Conversion, then you lose TC & Reel#.
nick
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HI, Peter.
in the interests of scientific investigation :), i downloaded the larger file,
and brought it into FCP.according to FCP, the clip is 29.97 fps, with a frame size of 480×640
i opened the clip into QuickTime, opened the video track visusal setings amd rotated it (and saved)
the clip now comes very nicely into FCP as 640×480.
in an “i-phone native” sequence, the picture doesn’t need rendering,
but the audio does.
any effect at all on the pic requires rendering, but that’s H264 in FCP for you.in an NTSC PRores sequnce, i get the orange render line.
(2x3G Octcore w 4G RAM)cheers,
nick