Steve Covello
Forum Replies Created
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I have always had to output from K2 with the DBeta in Input reference, then switching back to Ref for all other functions. This has been like this from the beginning and it is annoying, but it is not, AFAIK, an unintended bug or defect.
steve covello
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Your client is confused.
As the previous poster stated, an MPEG2 encoded file is compressed, so the request is ambiguous.
Secondly, if the intent is to have HD footage on the internet for a user to play through a browser and a conventional broadband connection, there is no way in hell that an HD stream will be able to play. Dwnload perhaps, but not stream.
You can, however, encode the footage using an excellent software codec like what is used for widescreen movie trailers. Here’s a link to QT’s h.264 codec:
https://www.apple.com/quicktime/technologies/h264/
Here is a link to Windows Media 10:
https://www.microsoft.com/windows/windowsmedia/mp10/trailers.aspx
Show these to your client and then determine if your/your cleint’s server bandwidth is capable of streaming this codec in one form or another. It is, from my knowledge [which is not the world’s foremost], the eaasiest solutions for your situation outside of blowing $20 on a harware encoder.
good luck
steve covello
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…What Bob said. Frame rates are standardized through SMPTE and are proliferated in the playback/rec rates on professional machines accordingly. There should not be a SMPTE standard that is either 23.98 or 23.976. It is 23.976……
Except that I would add that if you are working in the graphiccs domain and have to manually set a frame rate, be sure to do it to the third decimal if you can. I had a similar lack of registration when unknowingly rendring an AE seq at 30 fps [using 29.97 source material] rather than 29.97. It appeared that AE decides to account for the microscopic frame rate difference by doubling the the sixth frame causing the sync issue. that was way back on version 4.0, so maybe that has changed by now.
Point it, match it up as best you can.
steve covello
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Thx for the good advice, though I was hoping to not have to do this. Unfortunately, due to the idiosyncracies of the client/project in particular, I had to be prepared for a wide variety of options by using huge source clips.
Adobe — can you hear me?
thx – steve
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Your Avid guy full of it. [and I’m an Avid guy by birth]. There is no need whatsoever to convert the frame rate of the project.
There is no difference in SPEED of 23.98 vs. 29.97 fps, thus your reference to drift after the first frame is part correct, part incorrect. It is correct in that the actual numbers are different in 29.97 vs. 23.98 after the first frame of a given second, but it is not due to drift [an artifact of speed change]. But in reality, every single second of 23.98 and 29.97 tc are exactly the same at the start of each second — referred to as an A Frame.
The only difference between one frame rate and another in this case is how many ‘slices’ of video there are between any given measure of time. This means that a 23.98 edl is EXACTLY the same, in terms of sync, as a 29.97. In fact, it would be inconsistent for your sound guy to do a mix whose hits are on frames that do not exist in the actual film TC. Like, if he/she did cues that hit on 1:04:13:28 — a frame count that does not exist on your original film 23.98 TC.
Send your guy a 23.98 edl and tell him to do the mix in either the native frame rate, or let him/her do it in 29.97 and be sure to indicate an exact starting point that is presumably 1:00:00:00. You will have no sync issues whatsoever.
good workflow advice at:
steve covello
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Also, I have had a variety of problems getting frame accurate output to tape, though these issues may have been addressed in recent driver updates. Do some tests first. Also, these issues were with FCP 4.5, not FCP 5, so I don’t know if this will make a difference.
steve covello
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Could it be that the component is there but it has not inherited the correct new permissions? Does the component actually exist on the machine but it doesn’t show up as available in the software? If so, try opening the Get Info of the file for that preset and see if has the correct owner, etc.
I was getting this error for a while way before Tiger, probably when I upgraded from Jaguar. Somewhere along the line, I re-installed everything when I switched computers for a room re-alignment and the issue went away. I’m fuzzy on the details but I remember it being merely an annoyance.
Did you do a Tiger CacheCleaner thing too? Preferential Treatment check? Can’t hurt.
steve covello
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You may need to copy/paste into a new sequence with the newly created output specs. I think it’s an FCP thing, not ana AJA thing.
If you control + click on your timeline tracks (where the track activator is) and the popup menu appears, you can check to be sure that your tracks are patched to the correct channels. As a default, they all go to stereo 1/2.
I always edit to tape from the viewer, not the canvas, and close out any other sequences in the canvas/timeline. An old habit from FCP 4.0 to workaround output bugs. Try it out if you feel adventurous.
steve covello
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No offense taken whatsoever. I credit your enthusiasm to a healthy spirit for what you do and your love for things that are FREE! 😉
By comparison to a typical string on Yahoo Finance about some random stock …. nuff said
steve covello
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>>With all of that said (and with your obvious investment), I am still surprised that you don’t use HD SDI to go into your Kona 2, since you obviously have the patch system already in place. << Who said I don't? Point is, if the project lends itself to a FW connection vs. SDI, the choice is there. Heck, I don't even have a 1200a in the first place (HDCam), so the only purpose of FW for the time being is for SD DV. But the setup allows for a rental 1200a to slot right in without disconnecting anything already established in the system. I think the only reason I posted my 'uptight' response was that I got the impression from you that those of us who set things up a particular way are unprofessional, and I am suggesting that the definition of professional is more defined by an understanding of the needs of clients and how THEY want to do their projects and the editors who do them. Also, there is a transition in the muturity of the talent pool where, say, as little as three years ago, most people would presume (well, maybe I would) that an Avid editor was more experienced and 'better' than an FCP editor. Now, the same presumption cannot be said to be true categorically. So I feel I have to be prepared either way. And it still annoys the hell out of me that my favorite editor insists on working in Avid DV Express and will not learn FCP. AAAARRRGGGGG!!! Your knowledge, Bob, is highly respected by this guy who types as we speak, so don't think I'm being oppositional for my own self-aggrandizing. I only find that when a facility owner says that their setup is the way everyone else should accommodate, it seems counter-productive. steve covello double wide post