Terence Curren
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access violations like that are usually caused by permissions errors on the media files.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
The 3/4s through thing gives you a clue where to look. Break down your sequence. Export the first third, then export the second third, etc until you find the offending section that won’t go out.
My guess is you either have corrupt media or a corrupt audio effect.Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
I’ve been out with a cold. Email me your phone number.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Why boot into windows? Just run it on the Mac.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Stan Fracker] “Should I just go 1920×1080 with a 29.97 frame rate? “
Yes.
[Stan Fracker] “Is there any need to go 59.94?”
No, as you would just lose half of those frames on import and it would probably look choppy. Just render out of AE to match your Avid settings. For example, DNxHD220 1920×1080 59.94i (29.97 frames) and 601 color space. This will make for the fastest imports into Avid. If whoever is doing the graphics doesn’t have the DNxHD codecs, have them download from the Avid website.
[Stan Fracker] “In an effort to save on render times and file sizes, could I go 1280×720 without any noticeable dropoff in quality (still importing it to a full 1080i size in Avid)?”
No, what happens is Avid has to resize on import. A: It will take a VERY long time. B: It will look terrible as Avid does a bad job on resizing in import. Going 1080 takes more drive space, but not if you are working in DNxHD. Make sure the GFX are DNxHD 220X. The “X” is for 10 bit which will help in the graphics world.
Since the output is resized through the Nitris hardware, it does a very nice job of it. Technically you aren’t “Down Converting” when you go out 720 you are “Cross Converting”. This is really just a clever marketing thing to make you think there is no quality difference.
[Stan Fracker] “For the most part, I would be working with high res photos, though there are times I’ll have some HD 720p as well as 4×3 SD quicktimes. “
The photos will be fine but you can also use “Moving Picture” from StageTools to make moves while using all the resolution of the original photo. The advantage is not having to go out to AE. This makes changes much easier.
The 720P source stuff I would convert in the deck and take the 1080 out to your Avid.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
[Stan Fracker] ” I think my best bet is to simply work in 1080i, then let the Avid convert the final output to 720p (which is the format it will be broadcast in) using the video output tool.”
This was the conclusion I came to many years ago. It is why I came up with the saying “Friends don’t let friends edit 720P in Avid.”
I have personally finished many shows in 1080i with a 720P output at the end. It is a problem free workflow.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
I saw that on the page I linked to, but I’m not sure if that is true or not. As I said, I have never used this box. Check with Panasonic. Renting that box for your digitizing days wouldn’t be too painful.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
I’ve never actually used this, but there is an external box for the Varicam deck that handles that if slomo was your intention. I believe this is the guy:
https://www.abelcine.com/store/product.php?productid=20190
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
First, kill whoever told you that.
Second, are you sure you understood correctly? The Varicam is ALWAYS recording 60 frames on tape. When you choose your frame rate, it just overrecords the frames. Say you are shooting 30 FPS. Then every frame is recorded twice. On playback, the deck just skips every other frame.
Because of this, folks will often say they are shooting 24 over 60 or some variation of that. Because even though they are shooting 24 FPS, 60 frames are actually recorded on tape. If you misunderstood this statement, then skip my first suggestion.
If they truly shot 60 FPS, and you need to go to 25FPS, you are screwed. It is standards conversion time and there is no cheap way to do it right.
There may still be hope if they didn’t actually shoot 60 FPS. But you will only find out when you try to play back the tape.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
You were on the right track in the first place. You have 30 frame material going into 60 frames. So it is half as long.
When you went up to 1080 59.94i, you were still at 30 frames. When you see the i after the frame rate in HD, it means it’s counting the fields. Yeah I know, stupid as hell, don’t tell me about it.
You can use fluidmotion in your 30 frame project to make the clip twice as long then export as QT and reimport into the 720P project.
You will have to turn on “ignoreqtframerate” True in your console commands.
And as was previously mentioned, this is about to go away in MC4. YEAH!
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca