Rafael Amador
Forum Replies Created
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Edwin,
Make sure is not the audio what has to be rendered.[Edwin Street] “As you mentioned it may be my drive speed and Final Cut trying to render it to a lower bitrate. I’m using my internal harddrive though, for this experiment, but I don’t know how many RPM it is.
Yes sequence settings are match to clip settings.”
No.
Prores444 is fully supported for RT.
In a low performance system could play choppy, but would never needs rendering.[Spencer Averick] “As far as the green render bar, I’m not exactly sure why but you’re right it’s always like that no matter what in FCP with PR444. Always have a green render”
No here, on my 5 years old MBP.
rafael -
No idea, I’ve never used FCE, but, why don’t you just import the footage and see what happens?
rafael -
[Mark Spano] “[Rafael Amador] “Could be done in FC, but that will means to lose one generation (rendering), when you just need to read the Prores444 file as Upper instead of Progressive.”
No generation loss, since there’s no master yet. The export from FCP is creating the master.”
If the footage is progressive, needs to be rendered to be exported as Interlaced.
Only if BEFORE EDITING, the footage is checked as Interlaced in the Browser and edited on an Interlaced sequence won’t need rendering.
Rafael -
[Alphonse Breaux] “Render a deinterlaced copy for those with flat-panel TV’s.”
TVs (flat-panel or not), are Interlaced.[Alphonse Breaux] “Or, I guess I could just put it on Youtube and hope they all have Internet!”
That will be the best, but don’t forget to de-interlace.
rafael -
[Mark Spano] “What I’m saying is why bother guessing that Media Encoder *might* translate P into PsF, when you already know that FCP will do it? “
Could be done in FC, but that will means to lose one generation (rendering), when you just need to read the Prores444 file as Upper instead of Progressive.Is when we make the H264 that the master neds to be processed as Interlaced instead of Progressive.
Two reasons:
– In a 420 codec, the Chroma is is processed different when the file is Interlaced or progressive.
– The H264 needs to be flagged as Interlaced (Upper first) to match the BR standard.And is not if Media Encoder “might” translate P in to PSF. Media Encoder will do it. Just set SOURCE: 25fps Progressive, and OUTPUT: 25fps Upper First.
Compressor would do the same.[Mark Spano] “What if Media Encoder decides to do some interpolation to get there instead of simple duplication? I could test this, for sure, but since you need the intermediate file anyway (coming out of FCP), why not just make that PsF (upper field) and eliminate the variables?”
There is not line interpolation or duplication going on. There is not de-interlacing or re-interlacing.
Is just that the progressive frame (Line 1, 2, 3, 4,..) will be read and streamed sequential:
– Odd lines (Upper field) first, so: Line 1, 3, 5,..
– Even lines (Lower field) after; Lines 2, 4, 6,..
All the lines of your master will be there.
rafael -
Hi Mark,
The advantage of Progressive stuff is that can be interpreted as Progressive, Upper or Lower without problem.
Is just about reading the pictures lines in the order you want. It always looks like Progressive,[Mark Spano] “The Blu-ray spec I have says 25p is not able to be encoded on disc.”
You are half right.
BR encodes 1080p stuff as Interlaced (PSF). The Progressive picture is compressed and streamed as it was interlaced.
Is not a big deal. i just about making the system to read odd-lines first, then even-lines instead of line by line.
The picture doesn’t lose his progressive nature on display.That counts for all 1080p25/30 stuff.
When you shoot 1080p25/30, the camera HD/SD-SDI is putting out 1080i25/30. Is the old story of the “Progressive Segmented Formats”.
This simplifies the systems allowing to use a single protocol (interlaced) for both materials.
rafael -
You must deinterlace if you want your movie to be played on progressive screens (computers).
If you are going broadcast or Bluray, you don’t need to de-interlace.[Alphonse Breaux] “I read elsewhere on the Internet that deinterlaced 60i movies look much better than the 60i movies that the Vixia spits out,”
That’s not true.
Deinterlacing you are dropping half of the original picture information, and you lose half of the temporal resolution. It always will make movement less smooth.FCPX will automatically deinterlace the stuff if you drop it on a progressive project.
rafael -
[Mark Spano] “If you want to make the Blu-ray with 25i, when you go to output your ProRes 444 from FCP, first duplicate your master sequence, and go to Sequence Settings, change field order there. It will not change any clips in your sequence, just duplicate each frame into two fields on output. The render will take a bit longer to export since it’s creating fields where there were none, but it’s not doing any motion interpolation, just duplication, so it should be easy. Definitely check this file (on a broadcast monitor) once you’ve output it. It should (for all intents) look identical to your 25p master.”
No need to do nothing on FC with the Prores444 master.
In the Media Encoder set 25fps/Upper first.
The master is Progressive, so no problem to interpret it as upper or lower.
rafael -
Don’t know the reason of the ghost picture, but avoid using the “rotate” function when possible.
That force FC rendering in “lineal”, the lower quality allowed.
You can try the 3D filter, or Andy’s “Better 3D”
rafael -
The first thing i would do is to try deleting the “.264” extension.
Seems that is common on CCTV files, but i don’t think will help on a Mac.Then you can try to open the file with QT Player.
If doesn’t works, try installing Perian (free).
If still not opening, try with ClipWrap. They have a free trial version.TW, when you make the conversion, check the footage as Progressive.
Whatever FC may say.
rafael