Steve Crow
Forum Replies Created
-
Oh you definitely want to convert the footage to ProRes before importing it into FCP – most people I know use the free MPEG Streamclip app to do the conversion, while it increases the file size quite a bit the videos are MUCH easier to edit than leaving them in their native H.264 format which most editing systems just choke on…probably why it looked choppy to you.
-
Sorry I don’t know how the camera might have done this, I believe it would take some action on the part of the camera operator because that would be a pretty major flaw if the camera just decided on its own to make a format change.
On a Mac using Final Cut Pro – all you do is make sure that the first clip you bring into the timeline is the format you want. Final Cut will ask you if you would like it to format your sequence settings to match the particulars of the clip you just moved onto the timeline, say yes. Now whenever you move another clip onto the timeline – FCP will automatically adjust it to match the settings of the first clip…in other words FCP natively handles mix formats so it’s not really a problem at all.
Are you on a PC? I believe Premiere has a similar ability but I can’t say for sure on that one.
-
I just double checked my H.264 camera raw footage and its 1080p with no black bars. So, I’d say, yes, there’s something in your camera settings going wrong although I can’t think of what it might be, I simply choose 1929×1080 24p in my Canon T2i and that does the trick for me,
In terms of the term “output module” all the meant was export settings either the export settings you are using in Final Cut Pro or even exporting out of the Quicktime player
Until you figure this out, increase the magnification/zoom of your clip in the Final Cut Pro motion tab will get rid of the black bars but I don’t understand either why you have them in the first place.
-
Thanks everyone for all the feedback! 🙂
-
A couple of points but first let me answer your question:
* In MPEG Streamclip there is an option called “Interlaced Scaling,” DESELECT that, also there’s an option to “deinterlace video”, DESELECT that one too, the video is already non-interlaced
* Move the quality slider all the way to 100% and that’s it unless you want to select a different size
Now it occurs to me all this may be somewhat off the point…does your existing footage look good when it is exported out of iMovie?
If the answer is yes, then the issue probably has more to do with Vimeo and how it encodes (as well as your export settings).
The Vimeo help pages list settings that they say work best for their service and they even have links to help videos with instructions for encoding for Vimeo using MPEG Streamclip and other software.
Encoding video for Vimeo display is a whole huge topic that I am not an expert at but they have community forums to ask questions in – normally the moderators say just follow their encoding instructions but that is not always the complete answer.
By the way, Vimeo says you should encode using H.264, don’t get confused…all I meant in my first response to you was that you shouldn’t EDIT your movie in iMovie with the video in H.264 format, instead you EDIT in something like AIC and then EXPORT your video out for viewing/Vimeo in H.264 format.
Sorry if my quick response led you astray in any way!
-
The T2i films in progressive mode using H.264 codec inside a quicktime wrapper (.mov)
I am notsurprised to hear that imovie doesnt like h.264 encoded video – the computer has to work too hard to edit video in that format so before importting into imovie re encode it to something like Apple Intermediate Codec or AIC
-
Peter, you typed faster than I did but you realized the same thing as I!
-
Oh I see now where the confusion is coming in….it has to do with the different ways the camera controls are layed out on the T2i versus the higher end models. The T2i gives you less control.
On the T2i, the movie mode is one of the dialed in mode options like TV, AV etc. So you can’t (on the T2i) be both in movie mode AND use a feature like TV or AV. You can however, like I do, shoot videos in full manual mode giving you full independent control of shutter speed, aperture and ISO. That’s how I film 99 percent of the time – and plus I have the Fader ND attached so I can use that which in a funny way is a different kind of exposure compensation 🙂
On the higher end models like the 7D, it seems like you can be both in a movie mode and yet still select something like TV or AV which is interesting. In that situation I can see how you might be able to tell the exposure compensation function what to adjust and what to leave alone.
HOWEVER, hmmmm….doing that on the 7D would mean (it sounds like) that I would be giving up full manual control, right?….you see ideally I want the best of both worlds, being able to set aperture, shutter speed and ISO the way I want it AND being able to do quick adjustments with the semi automatic exposure compensation function with the caveat that it doesn’t touch my shutter speed (or frankly my ISO either ideally)
Maybe the Fader ND is my best overall option with the 7D as well – it’s not automated but close enough. Actually right now I use the exposure compensation METER to tell me how much I am impacting my exposure as I turn the Fader ND – but I don’t let the camera actually change my shutter speed which is what it would want to do if I let the exposure compensation mode operate the camera (if that makes any sense to you at all.)
-
Auto exposure is something very different from Exposure Compensation which is there to give you an easy way to adjust the exposure 3-4 stops in both directions (lighter and darker)
Perhaps someone with a 7D can chime in and tell us how it works on higher end models.
-
Yes, I do use a fader already but I am curious why the T2i only adjusts the shutter speed while in movie mode when I would much rather have it leave my shutter speed at 1/50 and to only adjust the aperture – but it favors shutter speed and seems to ignore aperture as a way to adjust the exposure…funny