[Paul Campbell]

David, thanks for the reply. You’re correct, I was using the ProRes 422 codec during my progressive conversion before. I’m currently trying to figure out how to convert interlaced to progressive with the Animation settings, but for some reason FCP still shows my animation as lower field. (That’s for another thread, I know 🙂

Fwiw, I’m able to key out the black with my ProRes file, but I have to use 3 different keys to get it just right. Not nearly as sweet as Keylight in AE. Thanks again. I shall press on.

[Paul Campbell]

David, thanks a million for that! I just followed your instructions to the letter, and voila’. I love it. Also, muchos gracias for keeping with the groovy vibe of this thread. Sorry for the late reply.

Paul

[Paul Campbell]

Hey brother, your explanation makes good sense to me. I guess my only other question on it then is that if green means “needs rendering, but not so much that it can’t play in RT”, why then is the clip still green after I do an Apple-R to render everything? Shouldn’t that green turn to gray along with the red, too?

Thanks for the feedback.

Paul

[Paul Campbell]

Thanks, Michael.

[Paul Campbell]

Thanks, James. I’ll check it out later.

[Paul Campbell]

Rafa, what would happen if the DVD for NTSC were done at 720×486? Would the sides just get clipped on the TV? It wouldn’t actually degrade the quality, would it?

Paul

[Paul Campbell]

Hi, Richard. I’m working with a combination of 23.98 and 29.97, ultimately destined for 29.97. I don’t have the Nattress Converter yet, but I’ve converted 24 to 30 in Compressor before, which isn’t bad…just takes a little while.

Can you point me to a location that will explain the difference between 2:2:2:4 pulldown vs. 3:2 pulldown? I see these get thrown around all the time, and I’m trying to just understand what gets done with the frames during these conversions. What I’ve been able to gather thus far while studying converted clips frame by frame is that every 4th and 5th frame gets duped (mostly duped, anyway…there are some pixels that are slightly different). This of course adds up to the extra 6 frames that make up the 30. I just don’t understand the syntax 2:2:2:4.

Thanks!

[Paul Campbell]

Chris, I use DVD Studio Pro for this all the time, and it’s remarkably easy.

-Export your FCP project to Compressor
-In Compressor, find all of the DVD options and choose the one you want. Drag the one you want into the batch window.
-Make sure you also drag a destination into the batch window, too. Compressor needs to know where to put the assets when it’s done. Using the desktop is fine.
-When Compressor is done, you should see two new files on your desktop: an .m2v(video) file and a .acm(audio) file.
-Launch DVDSP, and delete the two default assets that appear in the window.
-Drag your two new assets into the window.
-Right-click the icon and select “First Play”.
-Click the burn button (I forget the exact name). It should open your DVD tray. Throw in a dvd and off you go.

Paul

[Paul Campbell]

ProRes happens to be a codec that we use quite often, so I’ll need to be careful how I deinterlace. Does FCP indicate in clip properties if my clips are 8 or 10bit? (I’m not in front of mine at the moment, sorry) Also, and I’ll be ostracized for asking such a subjective question, but is 8-bit really that awful compared to 10?

[Paul Campbell]

Thanks to both of you for that. On a sidenote, can you explain why someone who lacks in-depth knowledge would care that this application you mention only works with 8-bit in FCP? (The obvious answer aside that 10-bit is just better 🙂

Cheers,

Paul