Tom Brooks
Forum Replies Created
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Let us know what works for you. This topic does come up fairly often and it would be good to hear about a positive result.
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I don’t think the FCP flicker filter is intended for that purpose. After Effects color stablilizer is a better bet. I have no experience with it. I Googled for it and found the help page for it.
https://livedocs.adobe.com/en_US/AfterEffects/8.0/help.html?content=WS3878526689cb91655866c1103a9d3c597-7bc9.html -
I agree with John’s guess–something has flipped your field order. Try a shift fields filter (Effects/Video/Shift Fields) to see if that fixes it. Then try to track down why the shift happened.
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I do love 24pN for the HVX camera. It’s great for the web and DVD. Also good if PAL conversion is needed. For the news it can be exported to 720p60 by Advanced Format Conversion in Compressor. I don’t shoot much for the news, but that would seem like a viable approach. If you need to go to tape, there are many other possibilities, depending on the VTR in question and whether you have a capture card.
Final Cut Pro 6.0.5, Mac OS-X 10.5.6, Quicktime 7.6, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.
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To me, you already have what you need. Simply crop off the black parts when you export through Compressor, Squeeze, or whatever you use for final Web compression. Best to crop to dimensions divisible by 16, 8, or at least by 4.
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The “zipper” effect is often caused by reversed field order. Another way of describing the problem is that somewhere in the early production, recording, or post-production phase, interlaced fields were not properly treated. Where in your production chain could this occur? If it happened at the event and is recorded that way, there may be nothing you can do to help it.
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The Boris Title Crawl generator is included in Final Cut. Drop down the menu under the button on the lower right side of the Viewer.
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It depends on your sequence settings in Final Cut. Look at the parameters. Keynote works with square pixels. Set up your slide size (Document Inspector) to the square pixel equivalent of your FCP sequence. Export Quicktime in the highest quality codec you have (right on up to ProRes 422 HQ if you can). Set the frame rate to match your sequence. If your sequence is DV, finish the edit and then change the sequence compressor to the high quality codec of your Keynote video. Set sequence to render all YUV material in high precision. Render the sequence.
Read up on ProRes 422 HQ. It may be better to use regular, non HQ ProRes 422 in your case.
The basic method is to set slide size and frame rate to match sequence. Export in a high quality codec. If your sequence already uses that codec, great. If it’s a lower quality codec, such as DV, change it to the higher quality codec of your Keynote (at the end of your edit).
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MPEG Streamclip isn’t bad about reporting sizes. There’s also a program called Videospec that is useful at tims.
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Your approach number 1 would be the expected way to go. Since you are up-sizing the video, you could experiment with Adaptive Details and increase the two sliders and see how it looks. That is a really kind of weird final output size, seemingly based on a somewhat outdated monitor format rather than a standard 4:3 aspect ratio. Your video will have to be cropped to stay in aspect or you’ll have to live with a slight distortion.
Maybe if you could post a sample of the problem you’re seeing on the tilts we could diagnose it. It could be aliasing (jaggies) rather than interlacing.
– Tom