Tom Ackroyd
1
COW Coin
Forum Replies Created
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Edited to add “.mov”
ffmpeg -i input -c:v v210 -c:a copy output.movMac Pro 2 x 2.26 GHz Quad-Core Intel Xeon
8 GB 1066 MHz DDR3
OS 10.7.5
FCP 10.0.6 -
If you have ffmpeg you can transcode from the Huffyuv and Lagarith codecs to the v210 uncompressed codec in a QuickTime wrapper, eg:
ffmpeg -i input -c:v v210 -c:a copy output.Tom
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If you have access to Final Cut Pro 7, it has a tool to remove advanced pulldown from 24@29.97 footage. See page 1983 “Using an AG-DVX100 NTSC Camcorder with Advanced Pull-Down” in the FCP 7 manual here:
https://documentation.apple.com/en/finalcutpro/usermanual/Final%20Cut%20Pro%207%20User%20Manual%20(en).pdfTom
Mac Pro 2 x 2.26 GHz Quad-Core Intel Xeon
8 GB 1066 MHz DDR3
OS 10.7.5
FCP 10.0.6 -
This may help: https://www.youtube.com/watch?v=4RlQOqrLV-w
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Oh, so simple! Thanks, Mark.
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Andrew, I read it, and I still don’t believe it. I was stuck in the wrong, uh, paradigm. So simple, and makes perfect sense. Thanks.
Tom
2 x 2.26 GHz Quad-Core Intel Xeon Mac Pro
8 GB 1066 MHz DDR3
OS 10.6.7
Final Cut Studio 2, Motion 4.0.3, Final Cut 7.0.3 -
We’re working through this process right now with a channel in New Zealand going to widescreen. For their analogue (UHF) transmission they will broadcast 4:3 pictures with 13:9 letterboxing.
For the digital/satellite chain they transmit anamorphic 16:9.I produce TV commercials. The broadcaster has one output, so no option to produce different graphic/pan&scan versions of commercials. Basically 4:3 material gets palced in the middle of a 16:9 canvas, going via an ARC for UHF transmission, and as a SD widescreen signal to satellite.
Meanwhile we’re supplying the same commercial to chaneels still using 4:3 …
I did a “tree” of the different ways of the picture ending up on your retina. There were *24* different ways the picture could turn out, depending on transmission chain, set-top-box settings and domestic display settings.
There is no compromise which works. Basically everything gets worse. I can’t wait for the whole world to go 16:9 HD. This transition is painful painful painful!!
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Thanks David and Ed for your input, you’ve been a great help.
Tom
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[David Roth Weiss] “It seems to me that your IT guys installed a system drive that is simply way too large for normal use”
Thanks for your help David.
The “normal use” here is now to use it as a capture drive as well as system drive. Hence the 500Mb. It’s to do with managing scarce drive resources, beyond my control. I don’t have a problem with managing it this way; I just don’t want a drop in usability.
Will this configuration potentially mean problems while editing, not just while capturing? (I edit in DV space always.)
Regards,
Tom -
I tried this. I recorded a (PAL) DV movie in QTPro. The screen size of the resulting .mov comes out at 384×288, which is an non-standard DV dimension.
I import it to Final Cut Studio. The pixel dimension is displayed in the browser as 384×288. I load it to the viewer. The viewer displays correctly, but blown-up. On hitting play, I see full motion in the viewer (but at half-resolution), but not on the external monitor – this only updates on stop – ie no motion playback at all.
This next bit is very strange: if I edit the clip into a DV-PAL sequence, the canvas and external monitor displays only the top left quarter of the original pictures, in the centre of the screen.
If I adjust the original movie dimensions in QT Pro, to 720×576, everything is fine. Of course there is no timecode associated with your clip – this is A Bad Thing as we all know.
So in my experience, it is a bad idea to use QT Pro to do recordings for use in Final Cut.
Hope this sheds some light!
Tom Ackroyd