Sven Giebel
Forum Replies Created
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For me everything went back on track when I (after a few hours of fiddling around) suddenly remembered that there’s a conflict between prores4444 files containing alpha and certain aja quicktime components. After trashing the aja components and a restart the problems were gone!
I apologize for not posting this solution immediately after it came up.
Thanks guys!!
Sven -
I think I can imagine what your footage looks like and I imagine you’re out of luck ;-(
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Did you shoot with shutter on? Although the cameramovement is pretty rough, every single field looks sharp. there seem to be time differences between picture and echo. Are you aware of the fact, that FCP will show only single fields when you look at the canvas not in 100% mode? Maybe you see only what you shot…hm.
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thanks wayne,
the clip I posted is taken from the timeline, which is interlaced ProRes, upper field. This clip is already graded and I put some sort of bleach bypass effect on it. Part of the effect is a gaussian blur I put on a copy of the layer I put on top of itself, then I used a composite mode etc. As I mentioned the original unaltered clip shows the same artifacts. Without the effect its pristine and it’s sharp. What I should have mentioned: the stills are taken from the dvd, magnified by two. I don’t want to use another clip because these about 30 frames are part of a pictural climax which leads towards
the driver crossing the finishing line.
Your hint concerning a possibly necessary check of the camera is something I will think about, at least I will talk about it with the technician who regularly checks our euipment(although: in aprox. two years there were only two clips in which I’ve seen these problems and the clips were pretty similar (very blurry, very fast moving things)
thanks for your thoughts,
sven -
Yes, I’m using Compressor for most of my encodings but what do you mean by saying there are some options which could possibly fix this issue?
sven -
You can do it from FCP with the help of the free JES Deinterlacer. Do a normal Quicktime export, but first assign a stereotrack and two monotracks to the sequence in the sequence settings. In the timelime point the tracks to the according audiotracks. Then export and use Jes Deinterlacer afterwards for the conversion to PAL. JesDeinterlacer will simply copy the original audiotracks and puts them into the new PAL-clip. I think JES Deinterlacer does a pretty good job with conversions in both directions.
sven -
Blurring the gradient won’t help I’m afraid, it will make things worse. Try adding a bit of grain, sometimes this helps.
good luck -
Hi Marten,
10 minutes ago I made a compression test with H.264 on my workstation (MP 3Ghz Quad Core Intel Xeon). It took Compressor 3:50min to crunch a anamorphic 720X576 DVCPro50 sequence with four audiotracks with a length of 2:47 into a H.264 of the same pixel dimension. The result looks great btw in 75% and 100% setting. Both percentage settings took the same time. I hope this info is helpful in some way.
all the best,
sven -
As I do this kind of thing on a regular basis I made a template in Compressor. I put the material tapewise (or all the shots of day one, two etc. )in a sequence, lay the timecode effect on all the clips as mentioned above and export with compressor. I make small H.264 quicktimes 320×180 with 6 frames per second, audio is 48.000 16bit. So the client can log the stuff and can make a rough layout edit. Compressor crunches these sequences very, very fast (because of the six frames and the non-compression of audio) . Client has all the information but not the full quality material. So one hour of material will get you approx. 100mb. Clients were always pleased with this workflow as they can even download the stuff from our ftp-server.
All the best, Sven -
We didn’t try that yet. Thanks for your help, Jeremy!
Sven