Rafael Amador
Forum Replies Created
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[Tomas Valenzuela] “exporting an edit of a documentary from FCP 7 at the highest quality and de-interlace it for the color mix stage.”
You don’t need to de-interlace for Color Correction.[Tomas Valenzuela] “xporting an edit of a documentary from FCP 7 at the highest quality and de-interlace it for the color mix stage. The documentary is intended initially for film festivals and hopefully broadcast and DVD.
The footage has been shot on DV PAL Anamorphic (hence final dimensions should be 1024×765).”
If you are going Broadcast and DVD, keep standard PAL 720×576.
1024×576 Squared Pixels is for web download.Forget about “QT Conversion”.
If you have edited the PAL DV stuff on a PAL DV sequence, export a QT movie with the current settings:
Export > Quick Time Movie..rafael
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Is a bit difficult to figure out the reason.
That happens very often with MiniDV tapes,
but shouldn’t happens with DVCam, where the audio is locked.
You could try to play the tapes from a different desk/camcorder.
rafael -
[andy tolbert] “I have been told to transcode to ProRes and I did a test (processed a few clips through compressor) but it played back as choppy as the H.264.”
If Prores plays choppy is because the G5, no because the codec.
You are looking for troubles editing an unsupported codec (H264) in FC, and even more if you are doing Multicam. Not to talk about your hardware.
If you go Prores, probably things will go choppy and very slow, but there iis no reason for FC to crash.
If you keep editing H264, you may have every king of problems.
Andy, what you are trying to do is difficult with your system. Modern codecs needs a lot of processing power.
A solution could b to you convert everything to Prores, then off-lining with a more compressed format and once the edit done, re-linl to the Prores files, but I thing this would also be a cumbersome task of compressing with your G5.
rafael -
[Assi Mouzannar] “What is the difference between ProRes 422 and ProRes HQ?”
ProresHQ has higher data rate so would add less compression.[Assi Mouzannar] “I’ve been told that the DVCPro 576 25 is more than enough for the Beta SP and the Digital Beta, “
That’s not true.
Betacam is a compressed (?) formatif you convert it to DVCPro you will add compression.
BetacamDigital is 10b Compresssed. You should capture it as 10b if you don’t want to crunch it.[Assi Mouzannar] ” I’ve read somewhere that ProRes 422 is better than DVC Pro50!”
DVCPro50 is 8b and Prores is 10b.[Assi Mouzannar] “Others say uncompressed 10-bit is the best!”
But makes huge files. This is why Prores was developed as an alternative to 10b Uncompress. Is virtually 10b uncompressed but files size are a fraction.[Assi Mouzannar] “Another issue, capturing from DVCAM to FCP by fireWire using the easy setup DV PAL I had a delay with the video!”
What you mean that the captured files have audio and video out of sync?
rafael -
You can try with the picture opacity and the “Composite Modes” (left click on the clip >Composite modes).
rafael -
Hi Assi,
I would capture the BetaSP and DigiBeta as Prores or Prores HQ.
The DVCam, I would capture it by FireWire.
rafael -
I second Erick.
Just to add something: FC prefers PNG or TIFF better than JPEG,; mostly if you are working with a lot of stills.
rafael -
[Steve Maller] “My workaround is that I drop the file into MPEG Streamclip and transcode it into XDCAM EX and it works fine. But this takes a lot more space and time. “
That’s a ver degrading workflow.
You start with a very compressed format and recompress it to an even less efficient codec (XDCAM).
If you are rendering to XDCAM in FC, probably you are killing the picture.[Steve Maller] “When I look at the metadata of the suspect Quicktime file, it shows that the track has been converted to h264, but there must be something else in the file that FCP7 doesn’t like.”
Is the very H264 codec what FC doesn’t like. Is not supported.
Some H264 flavors work OK; some others make FC crash.[Steve Maller] “FCP7 Log & Transfer won’t work with AVCHD 2.0 stuff (60fps, etc).”
I’m not sure if 5DtoRGB could make the conversion.
That would be a better option than Pavtube.
rafael -
[Nick Meyers] “Raphael, what do you mean by 16/9 frame?
if you mean a 16/9 sequence, then what you say doesn’t make any sense.if you mean a 16/9 mask well, then there are black bars top & bottom”
I was talking about a 16×9 sequence, but you are right. the picture size will be 133%.I have messed my self. Sorry, I was thinking in terms of definition and in this case we do not really blow the picture up, but interpolate horizontal lines to change the picture geometry.
We start with 720 vertical lines and end up with the same 720 lines.Anyway, letter-boxing means that on 16×9 screens we will end up with black bars no only on top and bottom, but also at both sides. Will lose lot of vertical definition.
Working on a 16×9 frame, we will display 720×480/6 active lines.For me the idea of letter-boxing makes no much sense. That’s the resource we have been using for years because screens where 4×3 and many of them had no Anamorphic option. Screens now are 16×9.
[Donia Mili] ”
I also wrote to the distributor, asking them just how much this 16:9 format meant to them :)?”
You should.
If the film is 4×3, should be played like that.
better being pillar-boxed on 16×9 screens, that missing part of the picture.
rafael -
Hi Ana,
As you can imagine, the higher the data rate, the better the quality you can keep, but beside setting the data rate, there are two things you must do:
– Make Multipass compression.
– Set always Key-frames: AUTO.About he data rate (I guess you are working with 1920×1080 stuff) I think that from 15Mbps (15.000 Kbps) up you get a decent quality. With 35/40Mbps you will get Blu-ray like quality.
rafael