Richard Cooper
Forum Replies Created
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For \”broadcast quality\” I would find out the delivery specs of the broadcaster and deliver that particular format which they will reqire. H.264 is a nice codec for web delivery but in general terms if you can export to Prores or ProresHQ for broadcast it will be better. I dont remember if FCP 5.x has that capability. If h. 264 is what you really want just be sure to let it decide on the data rate and don\’t limit it in the settings. A max data rate h.264 will look really good.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
After I’m done with the edit, I’m thinking of creating an H264 sequence and pasting everything on there and I’ll reconnect each video clips to the source H264 clips and render everything. Then I hope to export the sequence as H264.
No… This is not possible, as FCP does NOT have the option to create an H.264 “sequence”. As has been said, this is a “DELIVERY” format, something to encode “to”, not an “EDITING” format, something to “edit”.
Just try this….Once you have all your clips transcoded to AIC, edit on your AIC timeline and from there just export to whichever “delivery” format that you wish… From the timeline as any number of Quicktime flavors (Including H.264) or through compressor for any number of wonderful delivery formats.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I just went through this not an hour ago. I was experimenting with up conversion from Beta SP to 1080i and once I plugged my RS 422 cable from my Kona3 breakout cable set into my deck… *bam* full deck control within FCP and timecode accurate captures.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Also if you can swing it you will want dual display monitors, an HD I/O card (AJA or Black Magic) and an HD broadcast monitor…. as long as you are asking anyway
Good luck and have fun on the new system.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Ha! Nope…50″ typo.. hehehe
Man this Kona 3 is incredible!
Just a word of warning if you want to monitor in true 24p make sure and go with the Pro TH seriess Panny as the new G and S class don’t do true 24p, but the KONA will add the pulldown for you so you can monitor on these at 29.97 from what I am getting.
I have read the all the pannys have the same plasma panels just different insides that tell it what it can and cant do and the PRO series (TH series) have card slots for different cards (HD/SDI and such)Has any one else read this and know it to be true?
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Monitor mode meaning via the computer input? If this is what you mean I don’t think this will work well, but I don’t know for sure… It really needs to be fed via an I/O card like the Kona or Black Magic. You wont be able to get a proper signal to grade with from a computer video display card. But forgive me if I misunderstood.
Here is what I am doing…
I just had my new 1080p 50′ Panasonic calibrated professionally with a probe and man does it look good. If your going to be doing any color correction on this, the calibration is well worth the $300.
They feed calibrated signals into the monitor via HDMI and there are settings that they access in the panasonic with their computer system and make adjustments that you cannot make from the menu. They set proper white and black balance, then they go in and adjust everything else to color bars from there. All monitored via a probe and special calibration software. I did make sure that he set all the “noise reduction” settings to OFF so I am getting a true unaltered picture. Now I will be feeding this from my Kona 3 card through an AJA Hi5 (HD/SDI to HDMI converter) into the Panny.
This will do nicely for my color grading monitor until I can purchase the FSI 24″ LM-2450W… then it will become the client monitor at that point.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
OUCH!!
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Your files are not showing up because you probably have a corrupted file somewhere within your AVCHD card/folder structure…Try this, It saved me the last time I had problems.
Take a good working AVCDH folder structure on your hard drive, one that you know shows video when you point to it in log and transfer, duplicate it and the delete ONY the .mts files which are several file folders deep in that duplicated folder structure. Then copy all of the .mts files from your bad folder structure and paste them into your new working folder structure EXACTLY where you deleted the old ones.Now they should show up in Log and transfer.
A lot of folks don’t understand that the AVCHD file structure is CRITICAL to FCP’s log and transfer to be able to see the .mts files properly and sometimes I get folders of ONLY .mts files on a hard drive and not the whole file structure. This has worked for me several times and has saved many hours of frustration.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
Hi Carrie
Really, shooting at 1080 60p wont give you any better resolution… you would still be at 1080 HD. You will always loose resolution if you zoom in and the final quality will depend on your format. If you shot HDV it will fall apart quicker that if you shot it in say HDCAM SR but bottom line is that you will go “soft” any time you zoom in on the time line. Even if you shot it in 60p. Although you could try ProResHQ but I think you will still see a softening. Slow motion will add to this issue if shot in 30p and slowed on the timeline as it adds frame blending unless it was over-cranked at 60 when it was shot for 30, This would be a much cleaner slowMo footage if you have that ability in the future.If your delivery format is SD/DVD, web or even 720HD you could work with your 1080p footage using a lower res timeline (720 or NTSC Standard def) which will give you latitude to zoom without loosing resolution.
Hope this helps.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com -
I mean, I suppose it comes down to what you had in your original contract…. but except when SPECIFICALLY STATED BEFOREHAND my project files NEVER leave my studio. The only exception that I have ever made on this is for a reality series in which we send out the media managed FCP Timeline to an online house in Nashville for sound and color. But this was stipulated in the contract and agreed by both parties BEFORE I ever took the gig.
All you owe them is a master of the project in whatever format that you agreed upon, HDCAM, DVD, DV CAM…. whatever, but never your FCP project files. Those are your “intellectual property” and if you release them you should be paid well for them. Just my humble opinion.
Hope this helps you in some way.
Richard Cooper
FrostLine Productions, LLC
Anchorage, Alaska
http://www.frostlineproductions.com