Robin S. kurz
Forum Replies Created
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Yes, if the footage is in fact interlaced, then you want to be editing it in an interlaced (25i) project.
It’s very odd that it’s being misinterpreted. And this is material that came directly from the camera/card? I.e. wasn’t captured or converted outside of FCP? Any chance you could upload a short example somewhere to look at? I’m curious…
And just to sum things up…
Destination TV = interlaced. So shooting, editing and mastering interlaced will make for much better quality, in particular with motion.
Destination everywhere else = progressive. So if your project in fact doesn’t run the risk of being shown on a regular TV, then it really doesn’t matter if you’re editing i or p. Only at the very latest upon export/mastering it should be progressive.____________________________________________________
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[David Mathis] “I also like Total Adjustment from RGB House (think that is the name), which is an adjustment layer.”
Aside from being easily made yourself in Motion (in about 10 seconds), Ripple have one, too:
https://www.rippletraining.com/using-the-adjustment-layer-title-in-final-cut-pro-x.html____________________________________________________
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[Morten Slemdal] “fcpx interpret it as 25p”
What does the info window say it is? Could it be you THINK you’re shooting 25i but actually shooting 50p? Because I for one have yet to see FCP misinterpret footage of that kind. But I guess anything is possible.
Putting the clip in a 25i timeline, turning on both fields in the viewer and then looking at a frame with a lot of motion in it would quickly clarify if it’s in fact interlaced or not, since it would be clearly visible.
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[Andre van Berlo] “Perhaps I’m not familiar enough with multicam but I always thought that you can have only 1 cam in picture”
Yes. But then there’s also this:
https://www.youtube.com/watch?v=S2pnoveRIYE&list=UU_q2DkCswQYJnfa2q_hjguABut whether that’s (more) pratical for what you are doing only you can decide.
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[Andre van Berlo] “I usually sync several audio files + 3-5 cams”
You realise of course that you’re describing a MULTICAM, not a synchronised clip, right?
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[Morten Slemdal] “I think my 25p project is just fine for now.”
Again… you do not want to be working in a 25p project, but in a 25i project! Working with 25p will only further diminish the quality of the footage, especially when it comes to motion. Technically, there is in fact no such thing as 50i, since there is no such thing as 50 interlaced frames, they’re 25 interlaced frames. Which is why Apple (correctly) calls it 25i where others say 50i. The whole 50i (imho) nonsense is just some confusing marketing speak of various camera OEMs along the lines of “They go to 11!” to make things sound better. Or maybe they think it makes more sense to people unfamiliar with what interlace even is? Since in SD (which your DV obviously is) there was and is no such thing as “p”. Everything is and was always interlaced.
And how do you figure that playing it from a FILE is going to change anything? That would be the exact same thing as you’re doing now, just a different codec. ProRes preserves the fields just as well and you hate it. You want to play it from an ACTUAL DVD player or get an Apple TV and forget about the superfluous cable.
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[Charlie Austin] “So I always run a progressive project to get rid of the interlacing for presentations etc.”
Which, again, is a completely superfluous step IMHO, since your export will ultimately decide whether the final product is progressive or not. Only that way you’re eliminating any possibility of exporting an interlaced version, whether you need it or not. But it’s smarter to leave your options open. Aside from it not offering any type of advantage anyway. Why would you want to have to render everything all the time if you plain don’t need it? Put it in the correct project and you’re only rendering what’s necessary, therefore saving time and resources.
[Morten Slemdal] “Should I use another player on my mac for better tv result? “
YES. Simply using a DVD or BD or even better an Apple TV would most certainly be far less inconvenient and easier to implement. It’s probably not even sending an interlaced image to the TV, which would obviously explain the “crappiness”, too. Way to much work for such a simple task imho.
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But then synching will rarely take any longer than maybe a few seconds, if even (at least here), so is it really that much of a hindrance? The time it takes me to regather my thoughts and figure out my next step will take longer. I recently synched up some 300+ clips for a feature and it never struck me as inefficient, hindering or slow. But then maybe that’s just me…
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Well, aside from that being such a short clip he’s using that it went so fast no progress bar was probably even needed, I never recall seeing it work that way. Maybe I simply never synched anything when it did, which therefore must have been a VERY early version. But then creating the clip BEFORE it is factually synched doesn’t make any sense to me either, so maybe that is why they changed it, if they in fact did. Either way, it’s not a setting, it’s how it currently works, yes.
If you need a lot of batching like that, then you might consider looking at Plural Eyes. And sending a request to Apple.
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Synchronising has never been a background task. The progress has always been displayed via a foreground progress bar. Only things such as analysis’, transcoding and rendering are BG tasks.
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