[Niklas Wikman]

Hi Jared,

First, download the Pacifist application from https://www.charlessoft.com/

(It’s free, but you can donate if you wish).

Install Pacifist and drop the ProApps 1.0.5 DMG file onto Pacifist

You will now see the content of the installer.

What happened to me was that one or two of the codecs files was not installed/copied into the right directory (I think that one of the supposed directories did not even exisst).

I suggest that you let Pacifist install/copy all the files in the .dmg file to your computer. Then it should work just fine.

[Niklas Wikman]

I found the software Manifest and used that to manually copy the codecs into the right place.

Then my Macs stopped prompting for the update.

[Niklas Wikman]

Bumping the topic – the credit roll was terminated, we use text stills instead. Works MUCH better…. 🙂

But the main question still remains – being an all DV50 project, I really figure I would deliver the material de-interlaced, since the client will not use it on DVD. Just web/computers.

What’s my best option here? I’d prefer free software, but for VERY good result, I might consider buying software/filter/plugin.

I’ve read that MPEG Streamclip could actually do a nice job – plus it will let me produce web-ready files (at least I think so). Or should I just do the de-interlacing (with ProRes422 as target) and then use for example Telestream Episode 5/6 to compress to web-ready files?

[Niklas Wikman]

Hmmm…. How do I mix a progressive text roll clip in a DV50 timeline with good result?

[Niklas Wikman]

Darn…. And yet hollywood is film, not video?

But I still tjink of a good way of making this DV50 project look the best possible on the web, computer screens, PP, etc

No go on that one?

[Niklas Wikman]

FWIW, I have the habit of deleting all my render files every now and then. They tend to fill up disk space, especially if there’s a lot of work and filters and stuff. You could end up saving quite some disk if you choose to delete all render files, just prior to export your final sequence.

Please note that deleting all your render files also clears your undo quece.

[Niklas Wikman]

I just take a look into Motion, then. I have never used the software, but I guess I will have to work with (final) ref movies (they are four in total) and then apply the motion blur with tracking on the actual parts?

To make things a bit more complicated, there’s both movement of camera and actors, as well as multiple logos that needs to be blurred.

I have watched a few tutorials on Motion and blur/tracking, and I think I will get the blur part just fine. But how’s the tracking done? In one of the turorials, it looked like you were working with keyframes after all…

[Niklas Wikman]

Thanks. Actually I have both VideoSpec, MediaInfo and also MediaInfo Mac.

If I launch a ref movie that FCP says is DV50, lower field first, MediaInfo reports that the file is DV50, upper field first, but that scan order is “stored/displayed inverted”. Does it mean that the file IS actually lower field first?

I really need to be sure that the field order is correct, since it would take too much time to make samples of all 20+ movies that will end up on a SD DVD….

[Niklas Wikman]

I’m using VideoSpec 0.9.8 (no further development).

The problem is that I get different results in the self-contained ref movie, compared to what FCP7 reports…

For example – an Apple ProRes422 timeline (1080i PAL) has upper field dominance in FCP7 sequence settings. But VideoSpec reports lower field dominance…

A DV50 PAL timeline in FCP (with lower field dominance, as all DV* codecs) is reported to have upper field dominance in VideoSpec.

And I need to be sure of the field order, when compressing my footage to MPEG-2 (SD).

So – what do you suggest I should use?

[Niklas Wikman]

Well, I’m just the “video guy”, that has produced the footage.

I’m sure there are a number of technical reasons for the FLV specs. I do know that the web guys are moving to HTML5, but my client cannot wait for that, thus the FLV format request.