Russell Lasson
Forum Replies Created
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I challenge you to a race! Not a race of crunching speed. But a race to see which will ship first, Turbo.264 or Compressor 3.
Hmmmmmm…… I wonder if Compressor 3 would use Turbo.264 to help it crunch faster. It says that Turbo.264 can be used from many applications…. What if I got a USB PCI-Epresscard with several USB busses and filled them with Turbo.264 on a Octa-processor Mac? Is it possible that Compressor would use all of them?
I know I’m getting silly, but it’s been a long week. Plus, I’m a power maniac!!!! HA HA HA HA HA!!!!!!!
-Russ
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ABSOLUTELY FACINATING!!!! (not)
Just kidding. Great job on putting a test together. It’s developing those kind of skill that will save the day during a middle of the night project when the cow has gone to bed.
Okay, the cow doesn’t really sleep.
Great job though. What were the differences in files sizes of the photos?
-Russ
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[mcuseo] “1) Can we pull the footage from the DVX100A (24pA over 60i) onto a sequence with a “DVCPRO HD 720p/60p” Compressor and a 23.98fps Timebase using a Advanced (2:3:3:2) pulldown pattern?”
In FCP5? Yes, but you’ll need to render and it won’t remove the advanced pulldown. Not recommended unless you’re using Nattress Standards Converter. In FCP6? Yes, but I don’t have a clue on if it will remove the pulldown correctly until I try it. I asked an Apple rep at NAB and she didn’t have a clue.
I just notice that the numbering of your questions is messed up. Ha Ha, you have messed up numbers:)
[mcuseo] “3) What is the best way to “Up-Rez” Anamorphic 720×480 footage (created using 16:9 “Squeeze” mode on DVX100) onto a 720p (720×1280) canvas? Scale in FCP or Kona card? How much for the card?”
In FCP5? Digitizing of a Kona card is great, but I don’t think i will remove the advanced pulldown while you digitize. I would digitize over Firewire and remove the pulldown that way, then deal will up converting it using compressor, Nattress Standards Converters, AE, Shake, etc. In FCP6? Not sure how well the new timeline in FCP6 will upconvert, but Compressor is suppose to do quite well.
[mcuseo] “2) Will this lead to Audio Synchronization issues (48k/16bit)?”
If it does, then you did something wrong.
[mcuseo] “3) Can we transfer the final product (Sequence settings: DVCPRO-HD 720p/60p, 23.98 Timebase,) to film as well as down to a 24p over 60i master for TV without sound synch issues?”
Yes. For the film side, find a company that you trust and do what they say. For broadcast, what format are you mastering to? I would get a AJA product (Kona or IO HD) as they can do just about anything.
[mcuseo] “4) Clips shot at 720p/24pN and imported into FCP only show a bitrate of 5.9 mbps in their clip settings. What’s up? Isn’t it supposed to be near 100mbps?”
You’re getting your bits and bytes messed up. There are 8-bits in a byte. 720 24PN is 5.6 MegaBytes/sec or about 44.8 MegaBits/sec. So what was the 100mbits/sec? 720 was originally 60 frames per second = about 14.4MBytes/sec or 110Mbits/sec? (Not exact math, but you should get the idea).
[mcuseo] “5) Full-screen playback for 720p material is jumpy or non-existent in FCP (5.0.4). Is that my graphics card or what?”
Don’t have a clue. There are several things that might impact that including the video playback setting under view on the menu bar. You’ll have to give us more details or just play with it yourself.
-Russ
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Aren’t you excited to have to stop explaining this? I can’t wait! FCP6 shipping in 2-3 weeks!!!
-Russ
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[MikeFromLA] “1. Do you recommend just capturing directly to an external hard drive to make this process easier?”
It depends on how you’re going to edit your project. Most of the time we capture to external drives or RAIDs.[MikeFromLA] “2. What is considered the “browser?” “
The Browser is where all of your clips are in FCP. On the top of the window it says “Browser.”[MikeFromLA] “3. What do you mean by “organizing?” What types of conventions do you use? “
There are a lot of ways to organize a project. One simple way is to create a couple of folders for the project. Put your project file in one. Put what I call NONTIMECODE MEDIA in another. That’s everything that didn’t come from tape. Another for your capture scratch (everything that came from tape.)The rule you want to follow is to copy whatever you are importing into one of these folders BEFORE you bring it into FCP.
Many editors drag things from all over the place (desktop, external drives, iTunes library, etc.) into FCP. Then they move the project to another computer only to find out that they didn’t have all of the media that they were using. They left it on the other computer.
I haven’t got it yet, but Shane Ross has a DVD about getting organized in FCP. It could be well worth your time and money. (It’s sold through the cow.)
Good luck!
-Russ
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Brilliant! A pain to set up, but brilliant!
-Russ
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I was unaware too.
-Russ
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You need all of your media and project file on an external hard drive. This really starts getting into how you’ve organized your project (or if you’ve organized your project).
You can select everything in your browser and select media manage – copy. This will copy everything to where ever you tell it to.
Then copy the project file to the hard drive. Open it. Select everything in your browser. Select File-Reconnect media. Now choose the footage that is on the external drive.
It takes some learning to get right.
I keep everything organized by folders in OS X as I edit. It makes moving/managing media a lot easier.
-Russ
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I like to use PICT files.
I’d suggest you take 10 minutes and run some time tests of the different formats.
-Russ
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It’s possible, especially if your source is HD. Did you turn on any frame controls?
-Russ