[Zackery Bent]

Thanks Jeff!

Surprise, surprise- it actually worked perfectly. I just had to make sure all of the sequence settings matched the H.264 to a T. Makes sense that the timeline will only spit out what is there- if what is on the timeline matches the settings- then no re-compression. I also just threw in a bumper that was full res and it rendered to match the H.264 quickly. While this is merely simple text, it exported quite clean.

My client relies on me to negotiate with a lot of amateur directors- so no punch needed. But it wouldn’t surprise how many ‘sorry but you sent me a compressed video’ emails I have had to send out over the last few years.

Thanks again!

Zack

[Zackery Bent]

Thanks all for the great feedback!

[Zackery Bent]

Sounds like a good place to start from- thanks Jeremy!

[Zackery Bent]

From what I am reading 15mbps is good. If that number increases you get into stuttering issues especially over 20mbps.

[Zackery Bent]

Thanks exactly what happened, I figured it out just a bit ago. Thanks for the response!

[Zackery Bent]

Thanks all for the thorough help!

[Zackery Bent]

Thanks for the advice Shane and Michael. It makes sense to me to master the tracks in FCP not letting them bounce past -10db. I did do a bit of a test yesterday just by bouncing from video to video listening on feel. For the average viewer of a product like this, they just don’t want it to blare at one moment and whisper at another. So going by ear seems like an okay fall back method.

I do have sound engineer that I could work with. So if I wanted we could make it really professional by going that route. In a scenario like this would you put all of the videos in the timeline and export one big audio file to be mastered or send all 30 as individual audio files?

Thanks again for the advice…its tough working solo sometimes!