[Stephen Vilas]

update: managed to solve this problem with Adobe Premiere CS5.
CS4 didn’t work for me.

[Stephen Vilas]

thanks, Rafael. i will give it a try!

[Stephen Vilas]

thanks for your reply, Jessica.
problem is, we don’t have an NTSC camera to capture this.
the Sony HDV camera plays at 25fps, so when we capture the footage with an NTSC preset, we still end up with badly captured footage.

we’ve converted ntsc footage before with Compressor and those results were quite satisfactory.

but in this case, I’m just not sure what the issue might be, nor the solution

[Stephen Vilas]

I have 2 x Fusion 500P, each one containing 5 x 1TB Samsung F1 discs.
they are set up in Raid 0. I use one as an active RAID tower from which I edit current film projects. the second one is the backup device. I use an app called Tri-Backup to sync these two after each editing day.

I want to replace the 1TB discs with 2TB discs. 10 new discs in total.
is this a good idea and which ones should I go for? i have been advised not to go for WD or Seagate, but opt for Samsung or Hitachi. just not sure which are reliable 2TB models.

[Stephen Vilas]

Thanks a lot for the advice, Bruce!
your approach did the trick. i still had to mess around a bit with the mask, but i applied the tracking data to the corner pin of the solid and now everything seems to work.
a little bit of cleaning up and i’ve got the shot that i want.

thanks for even bothering making a mock up!

all the best

[Stephen Vilas]

[Bruce Wainer] “what if you make another layer (out of a solid) and apply the mask to it, pre-compose the layer (to make it like a still image with no masks), apply the motion track, and use that as a track matte? You could use an alpha matte on the footage or an inverted alpha matte on the TV layer.”

When I do this and apply the tracker on the pre-comp layer it becomes scaled down to the size of the 4 corner pin points. so i end up with a layer that is the size of the TV screen. since the layer is scaled down, so is the mask making it useless. scaling up the layer again afterwards doesnt do the trick.

[Stephen Vilas]

[David Roth Weiss] “First, you didn’t tell us, are you delivering your project to them as a FCP project on a hard drive, or are your delivering an exported QT file? That’s very important information. What app is the facility using to do the color correction?

If they are using Color or doing the CC in FCP, there’s no need to media manage or recapture anything. If you’ve already sorted out any framerate issues, all you have to do is change the compressor to ProRes in Sequence>>Settings and then re-render.”

No, I wont be delivering an FCP project to the facility.
they don’t use FCP nor Color. they use Coloris HD.
The plan was to deliver exported QT files (not a single file, but all the shots after being processed through Media manager)

thanks for the help!

[Stephen Vilas]

Thanks, Stace.

so after the Media Manager export, i simply export an EDL from the final edit and we’re good to go? anything else to keep in mind?

[Stephen Vilas]

[Daniel Low]

They may have got their datarate a *little* too high. The maximum datarate for 1920×1080 MPEG-2 is 80Mb/s”

thanks, Daniel, for clearing this up. i already though this was a bit odd.

I now have an MPEG2 stream, 720p, of the TIFF sequence. The file has a .m2v extension. It stated in the festival’s technical guidelines that this isnt a format they can play.
how can I combine the .m2v file with the AC3 sound file in order to get a multiplexed .mp2 file as requested?

[Stephen Vilas]

thanks, Nick. there’s some great advice. I had done some tests already without frame controls and considering the amount of footage I have for this film, it might indeed be a good thing to use Media Manager when the final cut is ready and only convert the HDV/DV footage I will use. I was already going to add a couple 1TB disks more to the Mac Pro but even then it would be a tight fit, considering the size of ProRes footage.

do you have any suggestions regarding frame control?
Should I by default set the anti-alias and detail sliders to the maximum?
I want to have a 1080p25 master at the end, so I’m assuming I should always set output fields to progressive, but not sure what the best approach is for de-interlacing. Reverse telecine for HDV and DV footage or is that not necessary?

thanks for your help anyways!