Walter Biscardi
Forum Replies Created
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[David May] “So if the best settings for my timeline is 1920×1080, upper field order and square pixels, why does the footage automatically set the timeline to something different?”
Because most HD formats are anamorphic. DVCPro HD 720p is 920×720. DVCPro HD NTSC 1080i is 1280 x 1080. If you allow FCP to set the Sequence based on the raw clip, then you’ve set yourself up incorrectly from the get go for ProRes editing.
With the ProRes codecs you want to choose an Easy Setup of 1080 ProRes. This will set you up for square pixel 1920 x 1080 Sequence.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[David May] “I have video filmed at 1080i, imported into a FC project to use on a timeline with ProRes 422 1440×1080, upper filed order and editing timebase of 25 (the default settings for the footage when it is brought onto the timeline).”
ProRes is Square Pixels, not anamorphic. So you should be working in a full raster 1920 x 1080 timeline.
When you go through Compressor, it’s probably putting everything to Square pixels so your video looks correct instead of being anamorphic and then stretched back out by the Quicktime player.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Mark Suszko] “Walter, can the mini KiPro play out live composite video?”
The Mini is SDI and HDMI out only.
The full KiPro has Composite and Component output options.
If you went with the Mini, you can probably pick up a mini converter from AJA to take the SDI and convert that to Composite / analog audio.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
We just tried out the KiPro Mini last night and holy crap that is a sweet little box. Takes the uncompressed signal straight out of the camera and records to any flavor of ProRes using Compact Flash (CF) cards. So no Log and Transfer when you’re done, just copy the files over and import.
The cards that AJA recommends are around $400 to $500 for a 64GB card but we tried out two Wintek 64GB cards last night from Fry’s Electronics ($150 each) and they worked perfectly fine for 90 and 60 minute recordings.
They do add a little weight to the back of the camera but they are a recorder and player all in one. What’s really cool is if you do any sort of remote work, like a corporate convention or something like that, where you shoot all day and then play something back at night, you could lay off to the KiPro Mini from FCP and then play back directly from it as a virtual VTR as well. No need to burn a DVD or make a file to transfer to anything.
I also have a full on KiPro which is total sweetness as well, but for field recording, I can see that this little KiPro is very sweet and of course the CF cards are cheaper than P2. We used it last night with a Panasonic PD-170 recording directly to ProRes.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Perfect, thanks so much.
yes I discovered the awesome audio gain controls as part of my “Gotcha 1” video I posted. I was looking for the Audio Gain filter and there wasn’t one, but found the controls you mentioned.
I do love the way the gain affects the waveforms as they are drawn. You can almost literally mix your show based on the visual cues, very nice.
thanks for the help!
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Paul Jay] “7. Multiple open projects
Only one project can be open at a time in Premiere. There is no way to refer back to another project without closing the first one.”You can import as many projects as you want into a single project. So yes, you can refer back and forth all day long.
[Paul Jay] “3. Audio mixer affecting clip levels
Unlike Final Cut Pro, the audio mixer in Premiere doesn’t work on a clip-by-clip basis. Every adjustment affects the entire track.”I want the option to do an Either / Or for this function. Yes I want the Clip Level controls as I show in my recent “Gotcha 1” video, but the ability to control the entire track is also very good for the final mix.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Here’s a series of video reports I did on my transitioning from FCP to Adobe Premiere Pro. Long story short, PPro in my opinion is essentially the FCP 8 we all wanted. There are definitely differences in the operation, but overall, it’s an easy transition from one to the other especially if you enable the FCP 7 keyboard shortcuts.
The first four videos in the list are all about transitioning from FCP to Adobe.
https://vimeo.com/channels/biscarditipsandtricks
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Very nice Mick. Sometimes it’s the small things that can lead to much bigger things. Certainly has in my experience.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
I would frankly ask the client.
Offer three formats, DVD, BluRay and a digital file. Come up with a pricing structure for each and let them tell you what they’d like. Easy enough to make all three.
One thing we do here with some clients for projects we’re going to hand them is make a DVD / BluRay combo complete with the dual disc case. They love that, like getting a project from the store.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
Converting the Canon material to ProRes is definitely the right way to go.
With the Mini DV, the best way to handle this is to use a capture card such as the AJA Konas or BMD Decklinks to capture that footage to ProRes as well.
Now is the Mini-DV footage HDV or Standard DV? If it’s Standard DV, then we would up-convert the footage to HD to match the Canon footage while we did in the ingest, again, doing this through the capture card.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media