Rafael Amador
Forum Replies Created
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jason,
If you would be right now editing something that must be aired in a few minutes, you would cry if the play-head wouldn’t go where it goes.
rafael -
Hi rick,
The only problem of sending things to Compressor from the FCs time-line is that everything is rendered again, even if you got or your sequence alredy rendered. And this can take a lot of time. But if you have everything rendered (make sure you are) you can export a refference movie fron FC and them bring it to Compressor. The refference movie will look at the already rendered files and the process will be faster.
When in FC you EXPORT>QT Movie> you get a .mov file. The audio of those files is a PCM format (pulse code modulation) so basically the same that an .aiff or .wav. In the “Sequence Setting” you can change the data-rate and the bit depth.
Cheers
Rafael -
There is a lot wrote in this Forum about that. When working with DV (PAL or NTSC) we are discharging the 75% of the color information. We keep a value of chroma that is applied to four pixels. This is why some times the DV looks so blocky.
There are some plugins that based in the chroma and luma information, distribute this value in a more progresive way. Each of the pixels get a different Chroma value so the image doesn’t look so blocky. The result is much more natural. But this doen’t have much point if you keep editing in a DV time-line. If you keep in DV, in the moment of the compression you have to discharge again the 75% of the Chroma, so your image will look blocky again.
If you set your time-line with a 422 codec (ie 8b Unc) when exporting you will discharge some Chroma information again, but just the 50% instead of the 75%. The differnce between keeping the 50% over keeping the 25% of the Chroma is quite noticiable.
normally when making a movie that will end-up in a DVD, I edit in a DV time-line. When ready for CC I change the setting of the sequence to 8b Uncompressed. When he clips are CC I set the Nattress Chroma Sharpening before the 3WCC. I’m not sure but I think this must be the first effect applied because is suposed to treat the original footage (Probably I should set the filter before making the CC, but them I’ve got no RT).
Sorry if I can not explain you in a more scientific way how this works. You can get better information in the Nattress (Chroma Sharpening and Nicer) or in the 1z1screenworks (DVColor Interpolation or i2pChroma) web-sites.
About the MPG2, yes I meant open GOPs. With this method each GOP use their own “I” frame and also the adjacent “I” frame to calculate the inbetween frames. So you got two full pictures to build five pictures. With the closed (short or long) you get only one “I” frame to do the task. You will see how the compression artifacts around the moving shapes desapear.
Cheers,
rafael -
Andrea,
I think that you have to set DVDSTPro properly. You can see the aspect ratio of the .m2v file that Compressor generates very easily, Just open in the Desktop a folder that contains a .m2v and click one time on top of the file (the color ball will run for a few seconds). The small preview window will show the real aspect of the MPG2 file( this do not happens with the .mov files that are all shown 4×3).
Then when you bring the file to DVDSTP make sure that 16×9 is checked in the inspector.
Cheers,
rafael -
Thanks Kurt. I’ll try like that.
Cheers,
rafael -
I’m sorry but I do not agree with Shane and Wayne. Yes, once is in your tape you can not get nothing better than that you will get through the Firewire. But in your time-line you can improve a lot the look of that footage. If you make to your DV footage a Chroma resampling (i.e. Nattress Chroma Sharpen) and CC, you do not get the same result in a DV time-line than in a 8b Unc one. Just make a test with a clip where somebody wears a red T-shirt.
Also you can get a better MPG2 than the one of “”90 minutes” of Compressor. Just short the GOPs and set the OPEN. You will see the difference.
Cheers,
rafael -
Hi Kurt,
My problem is not calibrate the chroma (as you says is the same process that in NTSC with the blue-only), but the bright and the contrast. I don’t know if I have to use the PLUGE bars as has to be done in NTSC.
Thanks.
rafael -
Mark, in fact what I meant is that since FC, the life of the video editor is much more easy. We can not spect from a FC’s version to the next a revolution but what is clear is that Apple is trying to give to the consumers the best that they can.
If just a couple of years ago somebody would have tell me about the features of FC 6 I would simply have suggest him to stop drinking so much beer:-)
Cheers,
rafael -
Hooban,
Get you a bit more of RAM and your editing life will be much easier.
Cheers,
rafael -
[jmf] ” from what I am hearing FCP 6 will not significantly improve the quality of life for SD editors.”
Hi jmf,
I’m working as video editor since 22 years and I haven’t had the chance yet to work in HD, so I’m an SD editor. I’ve never thought of any software to improve my quality of life. In fact new software just mean more learnning and more time practicing. However as I see the things, the video SD is over. Is just a mater of time the disapearing. Yes you can learn how to use new tools, but do not spect any new developement that open new fields and possibilities for this technology. I guess than in two or three years the manufacturers will simply stop producing SD equipment.
I’m living in a country where the HD will still take at least five years to arrive (VCD is the national standard) but I’m trying to learn about HD because I want to be ready when the time will arrive.
The “intelectual investment” needed in our job is constant, and I prefer invest in something with future. I’m already working with FC since four years and at the moment I see FC pointing to a very interesting future. I LOVE FC.Cheers,
rafael
PS:Sorry if its sound that I’m pontificating or so. No please, is just that my English is not good enough to explaing my self in other way.