Simon Modery
Forum Replies Created
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Well, your image needs to look correct (non distorted) with the PAR Correction turned ON. It then should look distorted with PAR OFF.
What they mean by “turn off for better image quality” is that the PAR Correction makes the image look slightly pixelated. So if you want to judge outlines of a font or the general sharpness of an image you better do it with PAR OFF.Head of Postproduction
Motherlode -
Did you maybe scan the image as grayscale or “indexed colours”? In this case you need to convert it RGB or CMYK first. Select Image>Mode from the drop down menu and select the colour space you want.
Head of Postproduction
Motherlode -
The “Pixel Aspect Ratio” in the View Menu simulates the non-square pixels. When it is unchecked you see the pixels as square pixels, when you check it you see the pixels in whatever pixel aspect ratio you selected (in your case NTSC pixels).
So it see your material as it will look on a DVD you need to keep it activated.
To be clear on it: This function only changes how you view things, it doesn’t actually change your image.Head of Postproduction
Motherlode -
Try this:
Copy the sequence into a new FCP project (through copy and paste), then close the old project, then close FCP. Now open FCP again and try to access the sequence.Head of Postproduction
Motherlode -
I use an H.264 encode for YouTube uploads.
For the best quality set it to “Multi Pass” Quality to “Best” and Bitrate to “Automatic”. If the file is too big to upload try and limit the bitrate.
Toutube supports full HD (1920×1080) but hardly anyone watches clips in this resolution -yet. So unless you want to be future proof I would go for a 1280×720 resolution for the upload.Head of Postproduction
Motherlode -
What exactly happens when you try to reconnect?
Head of Postproduction
Motherlode -
If you don’t have Twixtor you can also use the Speed change on “Motion”. It produces better results than the speed change in FCP or Compressor. “Optical Flow” is the best interpolation setting, but it might create warping artefacts you can’t do anything about (here “Twixtor Pro” is far superior) and you will be faced with very long processing times.
Head of Postproduction
Motherlode -
Hi Tom,
I normally export to an H.264 file for YouTube upload. I would definitely go for 1080. Even if few people actually choose to watch it in this resolution nowadays, it will be the YouTube standard in a few years from now. Your work is much more “future-proof” in 1080.
Yes, you can use super whites on Youtube, so going up to 110 IRE is OK.
The sound is a difficult one. Since most of the clips on YouTube are amateur creations there is no real sound standard. I prefer to level to -12db as you do for television because it gives you enough headroom for really loud sounds light shouting or gunshots. But some clients have complained that the sound on their videos is to low in comparison with other YouTube clips. So I now boost the levels as much as possible even though it feels technically wrong.Simon
Head of Postproduction
Motherlode -
That sounds more like a job for After Effects or Smoke. I obviously haven’t seen the shot but it is very unlikely that it can be fixed in FCP X.
Shots with a moving camera are always tricky when it comes to VFX… I guess you need a VFX guy/student to help you out.Head of Postproduction
Motherlodehttp://www.motherlode.org.uk
http://www.simonmodery.com -
There is also the possibility that your video is running at the wrong frame rate (resulting in faster or slower playback). Right-click on a clip in the timeline, then go Properties > Format and check the vid rate.
Is it the same you recorded your material in?
What camera did you use?Head of Postproduction
Motherlodehttp://www.motherlode.org.uk
http://www.simonmodery.com