Rich Rubasch
11
COW Coins
3
Premiere Pro Coins
Forum Replies Created
-
When you say it’s a bug, do you mean FCP is interpreting the 24p footage and flagging it as 30p? That would make sense. It sure looked pretty bad during the two field frames. Again, applying the Remove Pulldown filter with Nattress got us on the right track.
Rich Rubasch
Tilt Media -
Thanks. That wasn’t it. We took the clips and dragged them into a 1080p30 DVCPro HD sequence that matched the clips, then dragged the Nattress Remove Pulldown onto them, found the right cadence and rendered them and they played perfect.
Rich Rubasch
Tilt Media -
I also have the Hartford for liability, equipment and even Worker’s comp!
All through a local insurance company right here in town. One phone call gets my answers on all my insurance questions.
Rich Rubasch
Tilt Media -
Or use MPEG Streamclip to make an AVI but use the PhotoJPEG compressor at 75%. He’ll think it’s a regular AVI and it will look good and be pretty small.
Rich Rubasch
Tilt Media -
In order to get around the file size limit, try using MPEG Streamclip and export an AVI with Photo JPEG compression at 75%. You get a smaller file that will “fool” WME to think it is a regular AVI. Caveat is that you MUST have quicktime loaded on the PC.
That’s it. works great.
-
My rule of thumb with Disk Warrior is to keep running it if you get errors until you get a perfect green light that there are no more errors.
Once is usually not enough if there are serious errors. Sometimes as many as four passes until you get a clean bill of health.
Glad a prostate exam isn’t that way.
Rich Rubasch
Tilt Media -
DID YOU TRY DISK WARRIOR? Sometimes it gets past errors that Disk Utility cannot fix.
Rich Rubasch
Tilt Media -
Try exporting an AVI from MPEG Streamclip and apply the PhotoJPEG compresor. This AVI should be generic enough that they can read it (as long as they can read it in Quicktime). I used this workflow until we got the DVCPro50 and DVCProHD codecs on our PC.
I’m sure with some experimenting (try a 1 minute clip) and different encoders you will get an AVI to go through.
Rich Rubasch
Tilt Media -
Disagree again gentlemen. I spoke with two clients today who both view production company clips on their home connection. And if you have 768 DSL but you are at the fringe distance from the box, you are sometimes lucky to get 384 performance. Concerning Flash Video, I still find it quite annoying when it starts up, stutters a bit, then jumps forward, continues a bit, stutters some more and on and on.
My clients have consistently commented on how fast our site loads and how effortless our clips play.
Are you willing to wait more than even 30 seconds to see a clip? Doesn’t everyone crave instant on? Smooth playback without stutter? Perhaps we are just a bit arrogant to think that our clips are so fantastic that clients will wait and wait for them to load…all 30 frames because each one is so important. Stereo audio, because you know, they might have their headphones on and I want them to capture all that left right audio keyframing I worked on.
I’m simply arguing for the fast, smooth, no stutter playback.
At home or at work.
Two ways to get there? 15fps and mono audio, which is my suggestion and I’m sticking to it.
Rich Rubasch
Tilt Media -
Take a look at our site at http://www.tiltmedia.com in the portfolio section. For me the most important thing is that a potential client won’t have to wait for a clip to play. We did a lot of experimenting, and we decided that the tradeoff between loadability and smooth playability (no starting and stopping, which FLV is prone to do on a 512 DSL connection) was worth it.
Tell me if any of these clips don’t give you an EXACT idea of what we do at Tilt Media. That’s the point. Want to see full rez, high quality full motion and audio? Well, by that time I know you are interested and I can send you a DVD or set up a meeting.
So, as part of my duties on the compression forum, I suggested that 15fps provides these benefits.
I do agree that if you are delivering a clip that will be recompressed, then by all means, full frame rate and a higher bitrate.
Rich Rubasch
Tilt Media