William Carr
Forum Replies Created
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Yes! Your clean smooth export dropped into Compressor, with the setting “DVD Best Quality 90 Minutes” applied, will give you a fine DVD.
FWIW I always export from a completed rendered FCP sequence a current settings movie of every project, and that is the file that then continues its journey into a world of conversions and formats. It’s nice to have a holistic and integral final movie file of a project, all spiffy and shiny and archived away somewhere for posterity. Exporting AND converting directly from a sequence within FCP can bring about other issues.
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Laura, just to understand better, can you see the effects doing what you want them to in your sequence? If so, render the sequence. If it looks right in the sequence, the next step is to export the sequence to a media drive using “current settings”. that gives you a movie that looks the way you want it to. THEN you can bring it into Compressor or wherever else.
You say “You can still view the clips in FCP” so the part I don’t understand is whether you can render the sequence you’re looking at without these plug-in problems preventing the render from making you a clean movie sitting in your sequence and playing back just fine.
In summary, don’t export to Compressor, just render and export a copy of the movie.
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(It’s not an upgrade.)
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(It’s not an upgrade.)
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(It’s not an upgrade product.)
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Excellent recommendation!
I always arrange for that, even with low-end events that have no switcher. BD/DVD players are cheap. Start the back up running 15 seconds after the primary.
Better an awkward pause and resume, than a crash and burn. -
Thank you all for your advice and info!
I will suggest ProRes plus an external RAID like a small factor G-Tech. The setup has to be small at the theatre so a MacPro is not practical, needs to be the MBPRO. And there will be an opportunity to test.FYI, an interesting test I did tonight was an iPad!
I used an HDMI adapter playing an m4v to a plasma TV via a switcher. The image quality was great, no hiccups, but 2 caveats: the audio kicked in two seconds after the file start, so this method would want at least a few seconds of black at the head.
The other issue was, if stopping and starting the playback the audio would drop out entirely, and only an unplug-then-plug-back-in brought it back. Perhaps a signal integrity issue, or some interface thing with the switcher (routing was not directly to the plasma).
Lots of promise with an iPad or other solid state device used as a media player, but not quite for prime time perhaps… at least with the iPad 1. -
Compressor.
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I can tell you what I did on my last project, which incorporated an iPhone 4 video clip.
1) Import the iPhone video to the Mac using iPhoto.
2) In iPhoto, select the clip and Export with the “Kind” setting to “Original” (don’t bother with the Quicktime setting).
3) The export is a 1280×720 H264 movie at 29.97
4) Place the exported movie into Compressor and set to transcode to your project’s edit format. Make sure and enable the integrated audio setting and choose 48khz.
5) Export the clip to your media drive’s Assets or Capture Scratch folder, as per your workflow.If your project is exclusively iPhone video, I’d use ProRes or ProRes LT as an edit format.
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FYI – if this is your situation, maybe the info helps:
With any machine in Compressor if I am batching with h264/mp4 source files from HDSLRs I get SLOW functionality and spinning beachballs. Seems like the processor is a bit overwhelmed with batches of those.
The best way to convert your (for example) Canon 7D HDSLR native clips to an editable format, is to load the correct plug-in to FCS and Log and Transfer from the card (or card folder) as ProRes.
After that you’ve got intraframe clips and if you want to further batch transcode them, Compressor behavior is happy and normal. This has been true on my Mac Pro and my MBPRO as well.