Rob Tinworth
Forum Replies Created
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I’d second the second laptop approach. As an added bonus you can then use a wireless keyboard as a foot pedal.
Rob Tinworth
http://www.1021.tv -
The close gap bug (where it closes the first gap not the one you’re in) is still driving me nuts, but the improvements across the board make it well worth it.
Rob Tinworth
http://www.1021.tv -
This is a fantastic tool:
It saved a number of underexposed shots on a recent project:
https://www.robtinworth.com/noisereduction.html
Rob Tinworth
http://www.1021.tv -
The other approach is to make everything run at 29.97 fps. In your case, if you’re only making an SD DVD, I would downconvert the 720p23.98 and add pulldown to make it NTSC, downconvert the HDV material to NTSC, and then make the DVD from that.
Rob Tinworth
http://www.1021.tv -
How did you capture the original tapes? If it was a native transfer, you’re not going to gain anything from recapturing uncompressed 8 bit.
But you are taking a hit by rendering in DVCProHD. It’s slight, but it’s there.
It’s worth copying your sequence into an uncompressed timeline, hitting render and exporting from there.
Something to watch for (regardless of which route you go) is aspect + pixel ratio. Your DCVProHD material is likely 1280×1080 with the corresponding pixel aspect ratio.
If you do paste your timeline into an uncompressed 1920×1080 square timeline you need to check that FCP has done all the basic motion adjustments correctly. You may find you also need to rebuild some of your effects. It can be a headache – which is why ProRes being full raster is such a great thing.
If you just use compressor to transcode your master file, it should do the anamorphic shift for you, but you’ll have the slight quality hit from the original renders.
Rob Tinworth
http://www.1021.tv -
I found in v6 compressor sometimes behaves oddly with that Apple TV preset. If the REF vid from FCP is anamorphic, I used to uncheck the lock next to Aspect Ratio and make sure it’s set to 16:9 1280×720
Rob Tinworth
http://www.1021.tv -
I use a slightly roundabout method of addressing a similar problem – 23.98 cut with a 59.94 delivery.
I stick a BITC filter on my 23.98 version and then output a composite signal with pulldown to a DV deck and record the feed to my laptop. That gives me a 29.97 file that I can then stick another BITC filter on. I label the two BITC filters 24 and 30. That creates one file that has both timecodes on it. It’s useful as people create graphics/lower thirds lists that need the different versions, and it’s also one last fail-safe check that I’ve got the timecode shift from 23.98 non-drop to 29.97 drop frame right and I’m delivering the correct runtime.
Rob Tinworth
http://www.1021.tv -
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Have you tried sourcing a JH3? The transports are clunky and it’s player only, but if it’s just for capture it can be a significant saving.
Rob Tinworth
http://www.1021.tv -
I would highly recommend opening the manual at page 1 and reading it through to the last page with FCP open in front of you.
There are some workarounds and workflows that tutorials/forums can teach you, but basically everything you need to know about FCP is in the manual. And it’s free.
Rob Tinworth
http://www.1021.tv