[Peter Groom]

As a separate question.

Why would you prefer to have the timeline at oo,oo,oo,oo ??
Surely when you then add Bars and line up / clock pre ceeding the prog start tc youre in a problem world where your timeline cant accommodate?

Peter

Post Production Dubbing Mixer

[Peter Groom]

HI Bill
It was the clock chimes harmonics that were spread right up through the frequency spectrum (quite surprisingly) that made it not fixable. NOt so much the core sound
Peter

Post Production Dubbing Mixer

[Peter Groom]

A similar thread on the AVID site resulted in a massive volume of similar comments.
She is highly regarded by the community.
Peter

Post Production Dubbing Mixer

[Peter Groom]

An added thought

If you reallly, really want rid, you could try going back to the same room, with the same mic, mic position and direction, recorder, cable etc etc and make a recording of the clock doing the same time IN THE SAME LOCATION as it was before.
Then sync up the 2 recordings waveforms down to the sample. The new clock only left and the old clock and iv right. Then throw 1 out of phase and mono the 2 up. That would likely get rid of the majority of your clock. But you need that new recording, and i cant stress enough the imnportance of replaicating every detail in the new recording.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Sorry. I can’t remove the clock from your recording.
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi
If you post the sample ill have a listen in the studio for you.
Peter

Post Production Dubbing Mixer

[Peter Groom]

many thanks
Ill go and do some testing.
Cheers
Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi again. Thanks for your comprehensive reply. Its much appreciated.

I dont think I have any frame rate mis matches between my source footage and encore. Everything in my world is 25fps – but i will check all the assets and settings!

The asset coming from sor sq “should: be bd compliant, as i use the Blu ray authoring encoder settings within sor sq.
Sor sq creates me an ac3 file that i import into encore. Seems to work ok.

Do you feel that creating a bD compliant h264 m2v (as you suggest) asset in sorenson, making blu ray encore project, then a BD ISO, AND then using that same project to create a DVD iso allowing encore to crunch it down to DVD 4.7 gig disc size is a good idea? AND would you recomment using AUTOMATIC to allow encore to cruch the numbers to the optimum value?

Would you typically want the m2v file to be created using a de interlace filter (as sor sq has one appied as standard in its preste) alough it can be removed.

Cheresa again

Peter

Post Production Dubbing Mixer

[Peter Groom]

Hi Danny- thanks for responding
I’ll give h264 a go , thanks! What nitrate would you suggest as a good start off to keep high picture quality on a blu ray. My videos are normally @ 1.5 hours long.

to calculate the right file-sizes you need to create a bitbudgeting.

there are web-tools to do so or apps for iphone.
I’ll look into that!

when you´ve got interlaced-issues you need to rethink your workflow and tell more details.
Indeed. Largely now not a problem since I moved away from HDTV but I do struggle to get what I feel is totally
Smooth motion. I think I’m very fussy.

My media is shot 1920x1080i 25fps pal. I make an upper files 1st m2v in sore son sq. it’s the data rate in squeeze I could do with a guide on!
Thanks
Peter

Post Production Dubbing Mixer

[Peter Groom]

HI
Id not heard of “calibrated q” so on reading your post about your missing serial no., i had a look at their website.
Seems that a ser no is generated by eack user from within your calibrated q online account page. So youll need to get access to that, or pay again id think!

Of course the work around would be to do a video mixdown to a suitable res of your timeline and export a qt ref of that!. Calibrated q is only used as its an xdcam seq??
Peter

Post Production Dubbing Mixer