Shane Ross
Forum Replies Created
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YUP! Shoot me an email at comeback at mac dot com. Zip the FCP project file and attach it. I’ll return an XML.
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“Video Levels – “Must comply with ITU 709. Luminance (Y) must
not exceed 714mv (100 IRE units) & Chrominance levels in the Y/Pr/Pb
domain must not exceed 785mv (110 IRE units).” How do I check if my edit complies with these, and if it doesn’t, make it do so?”You need video scopes to check this. There is a line at the top that is the ceiling of 100 IRE…lots of lines in the middle…and then the floor of 0 IRE. You need to make sure your video doesn’t stray outside of that. Some broadcast monitors have scopes built in, and you feed that a video signal from a capture card or device. There are external devices that have scopes, but they are spendy. And a few apps have internal scopes, like Resolve. And software solutions like SCOPEBOX.
You can also try to use the BROADCAST SAFE plugin that Premiere has. That’s supposed to crush things on both ends to meet that spec, but sometimes it doesn’t get it quite all the way, and some things can hit 101 or 102 IRE. But that might be an option…if you don’t have the money nor expertise to invest into and install external options.
“Timecode – “Timecode must be present in QuickTime .MOV as a timecode track“. Is this just clicking the ‘Set Start Timecode’ setting when exporting, or something different?”
This would mean exporting a file type that supports embedded timecode. So ProRes would support this, and DNxHD. And the timecode would be what your sequence timecode is. If it starts at 1:00:00:00…then it will embed it into the export starting at that number. DO you know if they need drop-frame or non-drop frame timecode?
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OK…lets first talk about how each NLE works with media, because it’s very different. FCX will link to the media, and even transcode that media when necessary, and keep the frame rate, no matter what you project settings. Avid, can LINK to the media, sure, but really wants that media to be transcoded to Avid media. It CAN work with linked media, depending on the codec. But most often you need to transcode. And when you do, you need to make sure to check the KEEP NATIVE FRAME RATE, so that it retains it’s native frame rate. Although Avid has a limit as to the frame rates it will “allow,” and I don’t think it works with 100FPS media. Might top out at 60fps…but don’t hold me to that. I heard something about higher frame rates over 100 not working.
NOW…when you cut that into your sequence, it should have a “T” on the clip. This means it has a TEMPORAL difference. Go into EFFECTS MODE, PROMOTE that clip, and then in the speed graph, change the speed to 100%. It might be at 60% or 80%…in order to play in real time.
OR…you can select the clip in the bin and go into the SOURCE SETTINGS (right click to access that) and change the speed there.
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Sorry not seeing this until now…but equally sorry as I don’t know what the question nor the issue is. Can you clarify, or is it tooo late?
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OOO…right, I keep forgetting that you can change it in SOURCE SETTINGS! I need to remember that, as I have a lot of footage that comes my way. I just keep using CT.
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You mean 23.98fps (24fps). WELL…I still have an old machine and Cinema Tools for times like this. Because the NLE’s will allow you to convert the clip internally, but a couple don’t adjust the audio. Avid doesn’t adjust the audio, but you can do frame for frame of the picture. Adobe After Effects will do this…
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You are doing nothing wrong. It’s a bug. Either update, or use something else. Titler+ is a steaming pile of trash. When you CAN get a title typed up and where you want it, it’ll suddenly ZIP OFF TO THE LEFT when you render and play back.
You can also not render the title, that might help. Dunno. it’s so unpredictable I don’t use it.
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Well, you have only half the information you need in order to proceed. You have the offline media, but….how was that created? In Avid? In Resolve? What steps were taken to make that offline media? The offline/online workflow requires having a plan from the start.
AMA or UME link the master footage, transcode it to offline…edit…relink in Avid to masters….transcode to high res footage…color correct…audio mix…output.
In Resolve, bring in the master footage, convert it, send AAF and media to Avid. Cut…export AAF to Resolve to relink to the masters, online, add mix…output.
So you need to start with “How was this media converted in the first place, what we the plan?”
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If you tried multiple Nitris units that you know are functional, but none of them work on this computer, then that would point to an issue with the computer. Most likely the slot the card goes into. That might be fried.
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Advanced Video Codec…is that AVCHD? They want something delivered AS AVCHD? Not sure you can do that…that’s acquisition only, AFAIK. Can you verify the codec?