Sean Oneil
Forum Replies Created
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I’m using Command +/-. Maybe that’s causing it. I’ll switch. Thanks.
Sean
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No, ProRes is just a regular Quicktime component and works like any other. It’s that the only way to purchase it is to buy FCS2.
Sean
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Dude, you shouldn’t double-post. My suggestion is to use something other than Glue Tools. My guess is that it’s creating a Quicktime reference movie that points to the DPX files, and that it’s not compatible with FCP. AJA and Blackmagic products both come with a free utility to convert DPX into Quicktime movies. Even if you don’t have one of those products, you can probably still download the utility.
Sean
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Check the clips settings in the FCP browser window. Check the resolution and pixel aspect. If it’s not square, change it to square.
If that doesn’t work, then my guess is that ProRes won’t work with that res. Try converting it to Cineform using Quicktime Pro.
Sean
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The least expensive 4-bay SATA enclosure I’ve ever seen is the one from Addonics. I think it’s like $200.
Sean
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[Nick Meyers] “but i believe that the audio needs to be recorded at a 48.08khz sample rate if you go with a 23.976 workflow???”
It doesn’t need to be. Cinema Tools will adjust the sample rate accordingly to whatever framerate you conform the video to.
Sean
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[bruce alan greene] ”
Yes, it’s for offline only. As far as frame rate goes, I wish there was someone from the post department to say what they would need, but it seems no one will step up to the plate on this…The one thing that it seems they want is 24fps in the movie camera.”
The telecine will be done at 23.98. DI film scans are just a still images (image sequence) and can be played back whatever framerate you want. So when you finish you can bring them in to your project and color correct at 23.98.
If you are going back to film (doing a film-out) then the video and audio will first need to be conformed back to 24.00 using Cinema Tools. If this is for a high-def tape delivery, than you keep it at 23.98 (technically 23.976 which is what many non-Apple products refer to it as).
Sean
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[bruce alan greene] “Can I use Pro Res codec on final cut pro 5?”
Yes, you can. But you must first acquire codec from a Mac that has Final Cut Pro 6 installed. You find it in the /Library/Quicktime folder. You can copy it to your FCP 5 system and I can say from 1st hand experience that it does work. However you won’t get any real-time effects with it.
I’m not 100% clear on your workflow. Is this for OFFLINE editing only? Are you later going to replace the video with the DI scans? If the answer is yes, then you should just use DVCProHD. There’s no downside.
Sean
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[gunnar Kordestani] “1) which Codec would you suggest for best result? (the schrinking of the final
videos for web is done in Compressor right?)2) what setting in Compressor for the DVD encoding (what I dont really
understand is how it works that out of my 16:9 content (in HDV its anamorphic
1440×1080, right?) into a dvd that replays as letterboxed on a normal 4:3
screen and authentic 16:9 on a widescreen. How to do?3) as I understand the manuals I dont need to render a quicktime from FCP but
can go directly with the whole timeline in > Compressor > DVD Studio, right?”Don’t be afraid to experiment. Nothing’s going to blow up. It’s the best way to learn this stuff.
1. Compressor has presets that are spelled out for you. “DVD Best Quality” is a good start.
2. DVDs are always 720×480. Compressor will automatically flag it for anamorphic if the source is meant to be 16:9. DVD Studio Pro will recognize that flag when you import it and make an anamorphic track automatically. But you can change it to 4:3 letterbox if you want.
3. It would have taken you less time to try it than it has for me to type this. The answer is yes.
Sean
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If this is just for a regular computer monitor to work on (not color grading) I gotta say 23-24″ is SOOOO last year. For less than $1000 you can get a 40-inch 1080p television w/ HDMI. The money you’ll save in eyecare and chiropractic care will pay for it 100 times over.
Sean