Sean Oneil
Forum Replies Created
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The performence gains you speak of will happen. The table has been set. You gotta understand that Tiger was not designed for the Intels. Leopard will be.
Additionally, FCP needs to be re-worked from the ground up. It’s based on old code.
And most importantly is GPU rendering on a machine that uses a PCI-express graphics card. When FCP can take advantage of this, I really believe we will have our “Real” real-time and then some.
Sean
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Based on the language, it suggests that 5.2.1 still won’t take advantage of the PCI-express GPU rendering the way Motion and Appeture do. Have to wait for FCP 6 I guess.
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You can also tell the 1200A to output a downconverted SD DV format over firewire. I did this for my last project for offline editing. When it came time to finish, I batch captured using the 720p24 setting and it worked great. Only issue was an occasional gap of 1 frame missing which had to be pulled out (this is just something that happens when going from 30fps to 24).
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You can remove the redundant frames after the fact by using the Panasonic frame converter plugin tool, available from panasonic’s website and on your FCP 5.1 install disc.
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Does the keyboard work in the Finder and in other programs? Or is this just a FCP problem?
I’ve been having problems with my USB hub ever since 10.4.7 and I have to unplug the USB and plug it into the adjacent port on the back in order to get it working again.
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From what you described, this is probably a Decklink or Decklink driver issue. Definately not the disk drives. But you should do as much troubleshooting as possible to narrow it down. For example, the fact that it works with Uncompressed footage shows that your disks are not the culprit. Narrow down the problem and then call BMD support. The key fact to make clear is that the problem only occurs when the Decklink output is on. That makes it an issue with their product- not Apple’s.
Sean
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Open the media clip in QT player and hit Apple-I. This will tell you what the what the framerate, compressor, resolution, etc. is. You said they added telecine and that the footage is interlaced, so my assumption is that it’s regular 29.97 NTSC.
The way telecine works is that the footage is slowed down by a negligable amount to make 24fps into 23.98fps. It is then transferred to 29.97 video by a proecss known as 3:2 pulldown. In order to get this footage back to 23.98, you need to determine the cadence and then perform a reverse telecine in Cinema Tools. And if you want to go back to actual film, you need to then conform it to a true 24fps by using a different tool within Cinema Tools. But talk to the film lab first and see what they need.
[eppdidit] “I refuse to use the de-interlacing filter because it makes the footage look like CRAP! There must be another solution.”
Actually it works very well when used properly on certain types of footage. For example, video-based 30fps footage shot on a digital format will usually deinterlace perfectly. But the filter is not meant to be used on 24fps based footage – which is why your footage looks like crap after using it. It isn’t meant to do a reverse telecine. There’s nothing inherently wrong with the filter so you should never feel you have to refuse it’s usage or make any negative quality judgements towards it. It just isn’t meant to be used with footage containing pulldown.
Again, you need a reverse telecine in Cinema Tools to bring it back to 24fps. There are also a bunch of filters from Nattress that may or may not be a better choice, depending on your situation. Since this is only one single video clip and the cadence has not been broken (I assume), just use Cinema Tools. But honestly, unless you have a lot of time to do a lot of reading and familiarize yourself with the subject of 3:2 pulldown and interlacing, I’d hire a lab to take care of this for you. Or just call the place that did the transfer and tell them you want 23.98fps Quicktime files – not NTSC. They may do it for free.
Sean
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Those look like typical compression artifacts. Unfortunately that graphic doesn’t pass through the compressor very well.
DVCProHD is a pretty lossy codec. It’s great to shoot on, and it’s a great that you can capture the format natively. But you should render your final output as uncompressed for the best results..
Sean
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I’m a big fan of PhotoJPEG@75%. Smaller than DV, and close to lossless. And with my hack you can have RT Effects for it.
Sean
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[dan811] “I have so much layering going on it’s going to do my head in if I have to go back to each clip in the timeline. Even changing the format of the clips in the timeline doesn’t work. It seems I have to go back and individually replace each clip.”
Don’t worry. This is just a very common misunderstanding of how Final Cut deals with aspect ratios.
When you put a check mark for “anamorphic” all it does is apply some settings in the Motion tab. That’s it. So if your clip has already been placed in a sequence and you remove the “check mark” for anamorphic, nothing happens because the order has already been carried out (hope that makes sense).
Look in the manual and familiarize yourself with the motion tab and it’s different settings. Then read about copying, pasting, and removing “attributes”. With this new knowledge, you can fix the AR of all your clips in a matter of seconds. The attributes that control AR are called “Basic Motion” and “Distort”.
Sean