William Carr
Forum Replies Created
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You describe the audio tracks behavior on the sequence as though it is a linked stereo pair with one of the tracks essentially empty.
Highlight the stereo pair, press Option-L– that will unlink the stereo pair to 2 individual mono tracks. Delete the bad track and just work with the good one, panning and gaining or whatever is necessary to make it viable.
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If you haven’t yet, best to convert all your audio elements to FCP’s favorite 48k 16 bit aiff, before adding to the sequence. This is quickly and easily done with Compressor.
If on a fresh sequence and you’re using uniformly encoded audio as spec’d above, yet things begin to act quirky make sure you have performed a Mixdown of the sequence.
It’s as simple as selecting all the audio elements on your sequence and from the menu bar choose Sequence>Render Only>Mixdown. If you change something after that, you may again hear weird playbacks. If so, trash your audio renders and Mixdown again.Before a final export, I always trash all video and audio renders (Render Manager, under “Tools”) and render everything fresh, including a Mixdown.
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Yes, trash prefs, repair permissions, all those maintenance steps are SOP and not skippable.
As far as editing goes, best to convert all your audio elements to FCP’s favorite 48k 16 bit aiff, before adding to the sequence. This is quickly and easily done with Compressor.
If on a fresh sequence and you’re using uniformly encoded audio as spec’d above, yet things begin to sound quirky make sure you have performed a Mixdown of the sequence.
It’s as simple as selecting all the audio elements on your sequence and from the menu bar choose Sequence>Render Only>Mixdown. If you change something after that you may again hear weird playbacks. If so, trash your audio renders and Mixdown again.Before a final export, I always trash all video and audio renders (Render Manager, under “Tools”) and render everything fresh, including a Mixdown.
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One thing about the “hush box” concept– the fans alone may not be enough to cool it, regardless of what the specs say.
Our MacPro actually overheated once and shut down after a couple of hours of rendering, sitting within a washing-machine size $3,500 enclosure.
Throw a RAID in there too and you’re really pushing the limit. The air being drawn in needs to be really cool to begin with.
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As said in other posts, a determined thief can screen capture a movie regardless of how it’s protected.
If you are embedding the Quicktime on an HTML page there are parameters within the code that prevent the playback controller from displaying the download “button” on the right side. I believe the piece of code is:
KIOSKMODE=”true”The coding is not that complicated, anybody creating the web page already knows it or can grab it freely from Apple or whatever tutorials.
The other option is to have the movie hosted from a private account at a CDN, and simply copy and paste their provided embed code from your upload onto your own web page; your movie will appear on your site but be streaming from their server.
For example, vazaar ( https://vzaar.com/ ) has a 1-month free trial. Many professionals use such fee-based CDNs, which are not public and have no content policies. You can upload a whole feature there and they will even encode it if you want them too. We upload h.264 up there and it’s a pass-through. -
I got to helm the edit desk myself and changed settings in the AJA control panel, and I think all is well.
I’m using a ProRes 720 23.98 sequence and all looks good into the deck recording 1080i.
Thank you again Jeremy and Rafael!
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OK then, I will try and find someone here who can make it happen the way it is supposed to work.
Thanks, Jeremy!
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Let me ask you this then: if I could do the real time cross-conversion from a 23.98 ProRes 1280×720 sequence to 1080i via the Kona 3 the way you’re supposed to be able to do it– like you say with a couple of clicks- is it typical to have steppiness in the pans since the frame rate has changed?
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They tried that here at this place two days ago and they told me their routing system would not accept a 23.98 throughput to the deck. So I called the projectionist and he said 1080i 59.94 was OK instead of 23.98.
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Sorry, it’s a Kona 3.