William Carr
Forum Replies Created
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48K 16 is best for smoother use. Also delete all your audio renders for that sequence using Tools>Render Manager and then see if it plays properly. Then render all your audio. After that you can also do a Render Only>Mixdown to play back without hitches.
But if you are continuing to edit that sequence you will occasionally have to flush out the rendered audio bits piling up, as above. -
Thank you Andrew, great info. He is on a Mac. And who knows by the time the project is in full swing I might get a little PP experience as well.
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Since I’m an FCP-only editor I want to start the inquiry by asking a pro who lives in both worlds, with a view from this one.
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Banding, 10 bit, monitoring: John that’s a great question.
The initial edit was for web and I monitored on an external 1080 LED LG via HDMI. The banding was apparent within the Canvas window (not a true indicator, I know) and also the external, and also when uploaded to Vimeo and watched on various computers.
So somewhere in the workflow I need to know if there is “truly” banding going on and deal with it before a final eyeball sees it on line or projected. The final most critical iterations of the project will be projected on a 2K system at a fest.
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Sounds like I will have no gain from the higher PR formats so will stick with Standard. We will face the music that the banding issues in post are simply the pitfalls of 8-bit acquisition.
Thanks everybody for the thorough replies!
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Thanks, Dave, very clear. But tell me what you mean by “transparency”. Is that related to whether or not I’ll get banding during fades and dissolves, which is a real concern here. The films will be projected and banding is downright nasty.
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I know the original clips will see no improvement to their quality, they are what they are. Here I’m asking whether new elements that I layer with those clips will render cleaner in an HQ workspace– a slow fade to a black or white color solid will often create banding, as might a blurred area within the frame. I mean elements or changes that are generated on the sequence and mixed with the clips.
That goes for color correction as well- does adjusting the values on an HQ sequence yield different results than a standard PR sequence?
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You’re right, Nick, staying 1080 is probably the smartest way. Often the repositionings and post-zooms are super helpful in smartening up some key shots, but in this case the final upscale quality may be the decisive factor for our workflow.
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Thank you Terrence!
I will contact the fest and straighten it out. This is probably the same spec they give to Hollywood for their features and could probably be eased a bit for our short docs.
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The upscaling would be part of the whole DCP creation that I’d have done out of house; I was worried about how bad it would be giving them a 720 master vs. a 1080 master since it’s such an expansive upscale.
I will look into how the prospective facilities do the upscale as part of the package, and see who uses a hardware solution.
Thanks for the response!