Sil Bia
Forum Replies Created
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Hello Mark Thanks for your reply 🙂
It makes total sense to interpret the footage as progressive but: I am not importing directly from the rushes as Premiere seems to be unstable with MTS files -and I need to get footage from other kind of cameras as well, on quite big projects. So I need to go through Encoder first.
Do you think I should force the footage to be progressive when I first transcode it in Encoder? Or shall I just use the option ‘same as source’ – which is giving me an Upper Field dominance in the output?
I’ve done some tests and -I must say- I haven’t noticed any difference. To me, it makes more sense to convert it as progressive in Encoder… the timeline will be happier, as the footage is exactly in the same format as its settings, and I will avoid the risk of interlacing it at this stage.
On the other hand, the risk is that Encoder applies a de-interlacing filter on a progressive file, which is a nonsense too.
What do you think?
Thanks again 🙂 sil
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Uh quite simple finally, it looks fine exporting with “quicktime movie” instead of “using quck time conversion”. Cool, I was just using the wrong export.
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Hi Terence, Hi all
has anyone found any solution to this issue?
I am rendering a Apple ProRes 422 HQ file to Apple ProRes 422 HQ output file, from a Apple ProRes 422 HQ timeline and it renders out darker!
The software is FCP7 on a 10.7.4 mac.
In the Video Processing options of FCP, I have flag ”render 10bit material in high precision YUV”.
The coloris confirmed that the output is darker than what he provided.
How to fix this?
Thanks
sil -
Yea, I’ll keep them about 7″, as we have lots of infos on screen (subtitles too). Thank you all 🙂 !
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Oh no, it’s about interview captions (lower thirds), whith name and title of the interviewee. I guess for that reaidng time x 2 will be fine. Thanks all!
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Thank you guys! Working on it