[Tom Brooks]

[Nigel Askew] ” The files need to be compatible on pretty much any computer, so we can send data discs to clients straight from the RAID. “

DVCProHD is a special codec that will not be available on many client computers. Especially not PCs. If you want something universal, that’s not it. If your clients are post houses, yes, they will most likely have the codec. If they are end users, they won’t.

[Tom Brooks]

You need either a Quicktime mov with a codec that is available on the PC… OR an AVI in a codec that is available on the PC.

For a lower common denominator approach, I’d probably export the timeline as QT Movie, Current Setting, Self-Contained. Take that to Compressor and create a preset using PhotoJPEG compression with the quality set to 75%. This will give you a Quicktime Mov with an 8-bit, 4:2:2 color space in a codec that comes standard with all flavors of Quicktime–Mac or PC.

You can also make an AVI with the PhotoJPEG 75% codec. Do this in MPEG Streamclip. You can search for this topic on the Cow Compression Techniques forum, I think. I’ve used it with good success to supply a file for use in Windows Media Encoder–the ancient encoding app from Microsoft.

If the client is not taking the file into an edit but only compressing to Flash, I’d make sure the file you send them is full square pixel dimensions. Don’t send 960×720 or 1280×1080 files with non-square pixels. It will only confuse them. My 2 cents on that.

If your file needs to be put on a PC hard drive, formatted FAT32, I hope it’s going to be smaller than 4GB. Otherwise…complications. If it’s too big, I’d recommend putting it on a mac formatted drive and have them buy a program to read Mac drives on the PC (it’s called MacDrive).

You can also go to ProRes 422 and tell the PC folks where to obtain the codec from Apple. It’s verging on overkill in terms of quality and the complication factor might be higher.

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.

[Tom Brooks]

Having no experience with this specific workflow yet, I can only offer a couple of guesses. The frame rate for the Flash created MOV should be 23.976 fps. That will match your 24P from the HVX. Whether the animator can work at 12fps, I’m not sure. See if you can research more on video output from Flash. The frame size should probably be 1280×720. That’s an educated guess assuming that Flash doesn’t have presets for non-square pixel formats such as DVCProHD 720p and thus you should work in the normal, square pixel size of the format. Even if such presets exist, it might be better to stay with the square pixel size to avoid the complications that can arise with non-square pixels.

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.

[Tom Brooks]

That’s looking better but still not there. Being under the gun on an edit, I forgot to mention anything about DV video and color smoothing filters. Are you in an NTSC DV timeline? DV is bad for keying because of low color resolution. If you are willing to change the compressor for your sequence at this point (which may force you to render the whole timeline) you could change to DV50 or ProRes 422. I’m not sure it will help the initial key, but it might help if you have to go to multiple key layers. You should also apply the Color Smoothing 411 filter to your shot. It should be the top filter in the stack. This helps the DV color compression problem a lot. So, at least start with Color Smoothing 411 before you try anything else.

The next filter should be Chroma Keyer.

To refine this key a bit more, try pulling out the bottom sliders on the color, sat, and luma–a little bit, one at a time. See if edge improves.

Then apply some Edge Thin. If it’s jagged and crunchy on the edge, apply a little smoothing. Turn up the Enhancement, which dials the remaining green out or replaces it with magenta. A little bit will render the edge neutral. Too much will just give you a bright magenta edge instead of a green one.

Spill suppressor will color balance the subject away from green. In other words, it pulls the color toward red. That will clean up the ugly green cast that may be subtly visible on the face and jacket.

The part behind the glasses might be the toughest, although if you get the rest of it, that should come along pretty well. You might have to do something separate to get that area.

Maybe Mark and others can chime in on any of my ideas. For instance, I’m not sure whether you’d need color smoothing 411 or 422 if you change to a DV50 or ProRes compression (as those are 4:2:2 codecs). I’m interested to see how far this key can come via Cow Coaching.

[Tom Brooks]

That looks awfully aggressive on the edge softening. Try to get “close” with a garbage matte and good key color selection before you get too aggressive. Get a key that leaves a little edge around the subject rather than cutting in. Then use a little edge thin and enhance to get closer. Go to choke after that.

[Tom Brooks]

Since you said P2 and it logged and transferred as 23.98p, that indicates it was shot 720pN24. So it is recorded as 23.976 progressive frames per second. No “over 59.94″ is involved at all. I suggested you use a 23.98 easy setup. The output from the Kona however, is normally 59.94p, 8-bit, 1280×720. It duplicates frames to achieve 59.94.

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.

[Tom Brooks]

Yes, the Kona allows you to monitor via 720p59.94, 1080i29.97 or 525i29.97 to the appropriate monitor from various 23.98 HD sequences or 525i29.97 from a 23.98 SD sequence. The Kona adds pulldown to achieve the proper output. The AJA 720p 23.98 DVCProHD VFR preset puts out 720p59.94. Source and sequence play realtime.

What exactly are the mixed sources you’re using?

[Tom Brooks]

[Jeremy Garchow] “[Tom Brooks] “Is this covered in that “When to Stay Native” article?”

I don’t know. Do you have a link to that? “

https://www.kenstone.net/fcp_homepage/when_to_stay_native.html

[Tom Brooks]

I hear you on that one. Not sure which method saves effort in the long run. Avid does for this particular edit.

With the key sequence of I, O, Delete, X, F10 you can get there. Probably at least two more clicks per edit.

[Tom Brooks]

Good point. Is this covered in that “When to Stay Native” article? Using baseband video (SDI) to get out of DV on capture is necessary at times, but it has more to do with workflows combining graphics and effects with the footage. Do you have an example that illustrates why you’d shoot DV at 24p and capture to ProRes or uncompressed via SDI?