[Pete Camden]

Hello again,

As an export settings there are lots of options to go through AJA. Like mentioned before there’s the: AJA Kona Lh 625 25 Apple Pro Res for example.

Does just exporting HD timeline with AjA’s settings do a decent HD to SD job?

Long live cow folks,

Pete

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Yes. The graphics won’t like it.

So, the plan is to finish the edit in HD with graphics. Down convert the shot footage. Copy the graphics from the HD timeline to newly created SD timeline, remove scaling and distort attributes and finally, fix position changes it there are any.
Then:
Export 3 movs.
a. Master with shot footage and graphics, b. Master without graphics, c. Master with graphics only.
Then I can remove the raw footage from the G-Speed, but still have control over the graphics in case of typo or something.

Now I just have to test the best approach for the down conversion. Time vs. quality.

Cheers,

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Cheers Michael, you might be on to something.

Since I have to factor the media to broadcast safe, would following work and how well:
Finish the edit in HD, export QT current settings (bake), send to Color and render broadcast safe SD.

Have anyone tried this? Originally, I was thinking even AE for downconversion but since I found out that my edit suite does not have one, it’s not an option.

Any experience anyone about down conversino with Color?

Pete

PS. I really don’t know why they ever shot it in HD. The depth for grading was fine idea, but in reality, the advantage it’s not that massive.

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Thanks for the quick answer.

In practice, how do you go from one AJA to another? Have never done such a thing and sounds great.

Otherwise I could put the HD timeline through AJA to a digibeta and capture it back to apply the graphics. The turn over for the show is quick and there are 40 eps to do. So I would really need to find the most streamlined workflow.

Cheers mates,

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

All good now.

Find the cure from this thread:
https://forums.creativecow.net/thread/8/1090666#1090917

Thanks everybody.

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Battling with this issue past two days in here:
https://forums.creativecow.net/readpost/8/1094543

and then I finally stumbled across this.

I owe Jeremy a case beer, so if you ever visit Sydney there’s heaps of free drinks…
Happy times now. Thanks once again for the great knowledge you spread.

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Yes.

That’s what I have been using, but apparently the sound engineer works 44.1kHz and then re-conforms everything back to 48 kHz.
I have limited knowledge when it comes sound. Could this cause us the problems?

What was wierd is that I made 2 QT exports. One of the first scene and then one of the rest of the film and then married them back together in FCP, exported audio to aiff and took to the audio engineer. He puts the track into Logic and everything is swell. We do 48k stereo Aiff- export and bring it back to FCP and the audio is out of sync. If worse comes to worse, I must ask him to give me the dialoq track separately and then try to sync it manually. Not a proper way, but time is closing in.

Any suggerstions… anyone, anyone?

Cheers,

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Ok. Let me get my head around this.

In the current full length Aiff-file from the audio engineer the things drifts out of sync gradually.
This Aiff-file is based on exported audio tracks from the original 720 seq 59.94fps including the sequence shot with different format 1080/23.98, which I edited in. I didn’t edit that scene with the different format in seq with it’s native settings, but settings used in most of the film.

So, I should now export the first sequence and import back to the project. Then re-export audio files to the audio engineer, right?
Does this mean re-export audio for the engineer for the whole film or should the problem be solved if he re-does his work for the cafe scene only?

I know I am after a short cut, but would appreciate your advice since you seem to have far greater knowledge regards to the matter.

Thanks again,

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Yes. The audio is from a external recorder. I merged the audio and video files in FCP for editing purposes.

So, are you suggesting that I would have to export the scene as individual clips and then re-edit?

Cheers,

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…

[Pete Camden]

Great news.

TC won’t be a problem. It’s only a short scene (23.98fps) so the sync can be done manually.

Any ideas why the audio keeps drifting. Is the mixed frame rates as i suspected?

Thanks mate.

It’s like what Lenin said… you look for the person who will benefit, and, uh, uh…