Tom Brooks
Forum Replies Created
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Vincent,
I suggested a test with CBR encoding instead of VBR. My hypothesis is that the VBR might be running out of variability early in the video and doesn’t have enough left near the end to properly encode. It may not work that way, but I’m searching here. If you have a lot of cuts or fast-moving video in the first half of your program, this hypothesis might hold up. Anyway, it would be worthwhile to make a copy of one of the VBR presets and change it to CBR and set the data rate as high as you can to fit the material. Perhaps you could add a CBR encode to your next batch and compare results with the VBR version.
– Tom -
I suggest you try a constant bitrate encode on the problem movie to see what happens.
Your post implies that you exported a movie and encoded in Compressor. Is your source ProRes422 movie self-contained or is it a reference movie?
Did you look at the resulting mp2 files and was the problem evident in those prior to building and formatting the DVD?
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The piece of the mp4 that you want to use is not long enough to fill the space marked in the timeline. Mark in and out on the timeline. What is the duration shown for the marked piece? Is your source clip that long or longer?
Try this. Clear the OUT point on the timeline. Will the clip edit in now? If so, you’ll see that it does not cover the entire space previously marked by IN and OUT.
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I wonder what you do differently.
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Your method is unorthodox and may not give you the best result. I gave you a little misdirection, thinking that a ramp could have transparency in it. You correctly made the ramp white-to-black. You then created the transparency with a color key to remove the black. The effect is the unorthodox part. I suspect you are getting some gray superimposed over your underlying layer (over on the more transparent side) instead of a transparent white.
In AE, it’s good to get familiar with blending modes. In this case, the reflection layer should use the Screen mode. That will get you the correct result. That is, only the white in the ramp will be superimposed. Try it. Just uncheck the linear color key effect and change the layer mode from Normal to Screen.
The feather on the mask is just an aesthetic choice. If you want a soft edge along that curve, you could feather the mask.
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You pretty much have it. Yes, a new layer. Put a ramp effect on it–start with linear, white to transparent. Then put a mask on the layer. Feather the mask as desired. Adjust the direction and balance of the ramp. Adjust the opacity of the layer.
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As Michael says, your step 1 is the wrong choice. Any camera that shoots 24pA should be captured via DV NTSC 23.98 Adv. Pulldown Removal. This Easy Setup will remove pulldown in real time during capture. If the DVX and the JVC did indeed record 24pA, that’s the correct setup. No need for Cinema Tools or conform of any kind. Try removing Adv Pulldown after capture. Tools>Remove Advanced Pulldown.
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You have a mishmash going on in those settings. Which version of FCP are you running? V.6 on up ask to set your sequence correctly when a clip is brought into a non-matching sequence. Otherwise, your video size, pixel aspect, and video compressor are all wrong for 720pN24 from an HVX. Sequence settings should look like this:
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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Can you live with your 30p footage slowed down to 24p? Mapping 30 to 24 should work ok, but you’ll get slow mo.
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I’m just sayin’ that you can blow up the 720 shot at the beginning (in the 720 timeline) or at the end (in the 480 timeline) and the end result is the same magnification either way. There could be differences in the way artifacts are created or handled, however.
