[Tony Sarafoski]

David, not sure if this is a problem..?

1: I setup my timeline sequence settings as per your instruction:

2. added the rushes and export them to mpeg-2 using compressor and the settings you suggested.

3. I’ve opened DVD SP set my canvas to SD 16:9, and added the mpeg-2 clip to the V1 track. When I click on track (top left of DVD SP screen)

Under the general tab, it show 720x576i..? I’ve checked the mpeg-2 file and it’s definitely progressive. Any idea what I’m doing wrong here?

[Tony Sarafoski]

ok I’ll give that a shot.

Making sure I have this right:

1. I need to transcode all my 1440×1080 50i rushes to 1920×1080 25P using compressor & making sure my frame control is turned on. Are there any other settings I need to adjust in frame control?

2. create a new sequence that will be 1920×1080 25 Progressive, and cut away.

3. When done, encode my final project as an MPEG-2, 720×576 25fps Progressive Scan & burn to a DVD.

Anything unusual…?

[Tony Sarafoski]

Robert, the other question I wanted to ask you, If I transcode the 50i rushes to 25P, won’t that create like a flicker when played back on a SD TV? or will the DVD player interlace the signal on output?

[Tony Sarafoski]

Robert, thank you for your advice.

Out of curiosity, would I be better off converting all the rushes to 720×576 25P?

[Tony Sarafoski]

Kevin,

Thank you so much for taking the time to write that up. I’ll try your last method and get back to you.

I actually gave Marco Solorio workflow a go, what I did was the following.

1: Conformed a 30P clip to 25P using Cinema Tools.
2: Then created a 30P comp dropped the 25P clip in it and added time stretch of 200% & set frame blending mode to pixel motion.
3: I then imported the 50P clip in AF and set the frame rate to 25
4: Created a PAL 16×9 DV comp and dropped in the 50P clip.
5: Rendered back out to 16:9 PAL DV and that was it.

This 1x 30sec clip took approximately 3 hours from start to finish, way to long…. Also when I played the clip back on my plasma tv, it had a very slight blur on horizontal pans.

I’ve been testing this as I’m looking into buying a Canon 5D Mark II for my corporate production. Even though I’d be shooting in HD, I need to get the productions back onto a PAL 16:9 DVD. The 30P from the 5D Mark II is proving to be more of a headache then a plus.

I think I should just get a 7D that shoots 25P native. This way I can transfer the 25P to a 16:9 25P, PAL DVD and eliminate this process.

Any other suggestions..?

[Tony Sarafoski]

Hi Chris,

Thanks to your HDV to ProRes tutorial, I’ve already captured my HDV tape to Apple’s ProRes 422 codec.

The problem I have now is when I scrub through the clips on my timeline, it’s really choppy and almost impossible to trim or scrub though the clips in realtime.

Spending the past few days researching, I’ve come to realize in order to handle Apple’s ProRes 422 codec, I need to either purchase a really beefy Mac Pro tower, or buy a portable video audio I/O Interface box like an AJA Io Express, or a Matrox MXO2 Mini box. It seems the IO Interface is the better solution out of the two, especially if I want to continue using my iMac to edit HDV or Apple’s ProRes codec.

So now that I have almost spent a week trying to solve how I’m going to edit these files on my current system, I’ve come to the conclusion that I have no choice but to downconvert these Apple ProRes 422 files to a less CPU intensive codec.

Do you have any advise in this workaround solution…?

[Tony Sarafoski]

Happy to upload project files and jpg’s for anyone to have a quick look at…….

[Tony Sarafoski]

Cheers guys……

[Tony Sarafoski]

now that method word on some but not others… PLS HELP

[Tony Sarafoski]

I think i’ve worked it out, however please let me know if there is an easier way.

After adding a preset/text/animate in title which already has a stroke effects added. I then add a gradient by right mouse clicking on the text layer and selecting Layer Styles Gradient. I then had to change the gradient blend mode to multiply and all works well.