Santiago Gutierrez
Forum Replies Created
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Very informative! Thanks so much Zax for taking the time to do this. One of the best explanations to using Illustrator I’ve seen.
Thanks again,
Santiago -
Hey Jeremy,
Great tip! And I can confirm that your method of deleting the preference file works for this. ProRes HQ is now showing trillions!
Thanks again,
SantiagoP.S. I’m running on Leopard with 6.0.2 and AE 8.0.1
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Hey Barrett,
You’re right, it’s the dialog box that says “Current Settings”. Sorry about that. Your text should look sharp in the DV codec. If you open up the quicktime movie that’s been exported and look at it in Quicktime player. Click on “Show Movie Properties” in the menu and go to the video track. Under visual settings you’ll see a checkbox that says High Quality. For DV, make sure that’s checked. DV will look really lousy unless the High Quality box is checked. From there, you should be able to see how your text really looks.
As you’re not using this for broadcast, you don’t have to worry about looking at the output on an NTSC monitor, so in THIS case it’s important what it looks like on a computer screen.I’m no expert on Flash unfortunately, so I won’t be able to provide too much help on that front.
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Whenever I need to do this for a client, I export a Quicktime out of FCP using the sequence settings. It can be a reference movie if you want. Then I bring it into After Effects CS3 and use that to encode my FLV files. You can configure the output module in AE to customize the settings if you need a specific bitrate, etc.
You can use AE’s tools to do your cropping for you, or change your composition settings to eliminate the widescreen matting, i.e. change from 720×486 to 720×343.
Hope that helps,
Santiago -
Do you have an 1900XT installed in the Mac Pro? I’ve read a lot of reports of these cards overheating when the airway to the card gets clogged in some Mac Pro’s. I’ve got an 8 core here with an 1900XT card in it and it’s never had a problem though. Maybe there’s a link.
Santi -
I had this exact thing happen to me last week during output. I was working at 1080i and about to edit to tape when the ESPN executive asked me if we could do 720p instead. I said ‘sure’ and set it up in the Kona Control panel, leaving all the other controls in FCP at 1080i 29.97 as usual. So I did the output and everything went well, then as I was checking the tape, I immediately noticed that it was off by 1 field. This never happens during a downconvert to NTSC or a straight layoff to HDCAM. It was only in this case when I was converting 1080i to 720p on a 1400 DVCPro HD deck. Very strange. I couldn’t sort it out and she was fine with it, as they were going to assemble the show in Bristol. But I found it very strange that it was happening in the first place.
Thanks,
Santiago -
Hi Chris,
You need to add any Render Files folder that you will actually be rendering to. So for each different drive or volume that you are rendering to, you should add this folder into the Privacy tab of Spotlight.
Thanks,
Santiago -
I’ve had this happen and it was solved by opening up the Spotlight preferences and adding the “Render Files” directory to the Privacy tab, so that it won’t scan them. I’m also on a Mac Pro and this fixes the problem every time. It only cropped up when rendering a long sequence for me as well. I think Spotlight was indexing the render files as FCP was making them and then causing that annoying error.
Hope that helps -
I’d post this in the Automatic Duck forum and Wes will be able to give you an answer as to whether FCP Pro Import can ‘read’ the MXF files that the OMF 2.0 is linked to. I haven’t tried this as yet. Good luck!
Santi -
Hi Kevin,
I have seen some ghosting on lower thirds, but it’s not really severe on my system, almost unnoticeable, And I still think the Kona 3’s downconvert looks cleaner than than the downconvert from an HDW-F500 deck to a Digibeta. But I’m not starting from HDV footage. I’m going from HDCAM and DVCPro HD. I’d assume that the Kona 3 is doing the field conversion in hardware, but I don’t know for sure. Maybe the issues you’re seeing are from the 24F workflow from that Canon camera, but that’s just a guess on my part.
Santi