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Your basic troubleshooting forum for all things FCP Legacy (FCP 7 and below.) And general discussion on topics that do not fit in the other forums.
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Re: Standard def de-interlace - 14 years ago
Ah yes, that's another place where optical flow breaks. It doesn't handle superimposed elements very well. Do you have the option of exporting a textless, deinterlacing to an intermediate format like ProRes, then bringing it back in and applying your supers before finally compressing to H.264?by Jeff Harrell - Compressor - Media Compression and Conversion
Re: Standard def de-interlace - 14 years ago
I've gotten acceptable results by doing basically what you're doing: racking the controls up to "best" everywhere and letting it run over the weekend. It will break on the first couple frames after an edit, though. That's optical flow's weakness. The best results come from processing all your shots with handles then exporting the whole timeline. But that's just a hell of a lot of work.by Jeff Harrell - Compressor - Media Compression and Conversion
Re: Hard-drive space while upgrading to 7 - 14 years ago
Are you aware that Final Cut 5 is compiled for the PowerPC architecture and will only run on your MacBook Pro under emulation? Livetype is a dead product, and even at its peak it was pretty terrible. Don't undertake heroic measures to keep that patient on life support. Let it go.by Jeff Harrell - Café LA
Re: Editing DV over a ethernet network? - 14 years ago
That's what I was talking about, Jude. The problem with network I/O isn't the pure bandwidth available. It's the software stack involved, and to a much lesser extent, the latency. The most important fact in the Final Cut universe is that paths to network volumes are not fixed. They can change from session to session. They're not guaranteed to change, but they aren't guaranteed not to eitherby Jeff Harrell - Café LA
Re: Editing DV over a ethernet network? - 14 years ago
As long as you don't care about dropping frames all the time and losing media links from day to day, it works great.by Jeff Harrell - Café LA
Re: bad edges with title tool - 14 years ago
As the saying goes, "You have to understand why things work on a starship." I'd suggest you spend a little time reading up on chroma subsampling, so you can better understand exactly why color resolution is lower than luma resolution.by Jeff Harrell - Café LA
Re: bad edges with title tool - 14 years ago
Quote Just out of curiosity, what are people using when colored titles are absolutely integral to a project? I disagree with the premise of the question.by Jeff Harrell - Café LA
Re: bad edges with title tool - 14 years ago
Don't create areas of sharp chroma contrast period.by Jeff Harrell - Café LA
Re: OT: Who's using Blu-ray for archiving? - 14 years ago
Just a reminder: Nobody has the foggiest idea what the shelf life of a recordable Blu Ray disc is. For that matter, nobody really knows what the shelf life of DVD-R media is either. Testing by NIST and other groups has been all over the map, with accelerated aging studies coming up with numbers of anywhere from five to two hundred years. I wouldn't trust optical media for any data I really, toby Jeff Harrell - Café LA
Re: Resolution Question - 14 years ago
That chart's a bit disingenuous. Regardless of the number of photosites on the sensor, the Genesis only outputs 1920x1080 frames. Not that it matters, really.by Jeff Harrell - Café LA
Re: FCP in the workplace. - 14 years ago
Quote And the offline/online workflow is a rarity now. Depends. In commercial post ? as in TV commercials ? the overwhelming majority of jobs still use a traditional offline/online workflow, and for good (and obvious) reason. The offline editor and the finishing editor/visual effects artist are two entirely different jobs.by Jeff Harrell - Café LA
Re: I have 7 gb left on my powerBook G4..... - 14 years ago
QuoteI would do a complete fresh install on the new HDD of your system and apps. Yes. Quote Then use migration assistant to copy over your files and system setup. No. The Migration Assistant is one of those things that works a lot better in principle than in practice.by Jeff Harrell - Café LA
Re: Horizontal Banding on HD Uncompressed File and DVDS made from it - 14 years ago
"None" is an eight-bit RGB format, not suitable for use in video workflows. Noise or no noise, you need to send the job back to the online house and have them output a (for instance) 10-bit uncompressed master Quicktime.by Jeff Harrell - Café LA
Re: specs for delivery of Quicktime files - 14 years ago
DV and DV50 are constant data rate formats. You don't have a choice about what data rate to use; it's always either 25 or 50 megabits per second.by Jeff Harrell - Café LA
Re: 8 years Shooting and Editing w/DVX100, Now I have a Pulldown/Interlace Issue!! Help! - 14 years ago
Quote I've been shooting with my DVX100 for 8 years always shoot regular 24p(not advanced) QuoteI shot 2 projects recently and now there is a strange interlace issue, where 3 frames are fine, and 2 frames have terrible interlace separation. One thing follows naturally from the other. What you're seeing is 3:2 pulldown. This is exactly what you should be seeing. However, this part throws mby Jeff Harrell - Café LA
Re: Render Time - 14 years ago
It's very hard to tell from that screenshot, but it looks like you've got more than an hour of material there, with butt-tons of in-the-timeline compositing going on. Depending on the beefiness of your edit system, no, a 9:1 ratio doesn't sound crazy to me. (Totally unrelated tip: Start your timelines at 01:00:00:00, not at 00:00:00:00.)by Jeff Harrell - Café LA
Re: OT: A Good Editor?? - 14 years ago
One who keeps a stash of snacks in his suite. I don't understand the question.by Jeff Harrell - Café LA
Re: HDV to ProRes422 Render Looks Crappy - 14 years ago
What you said is the same as what I said, Harry. My theory is that Final Cut is passing your footage through the timeline compressor. If that's ProRes, you're fine, because ProRes is transparent across a reasonable (or even unreasonable, frankly) number of generations. If that's HDV, then you're boned. But I reiterate that I'm too lazy to go find some HDV footage and test it for reals.by Jeff Harrell - Café LA
Re: client can't open fcp movie - 14 years ago
A clarification: HDV is not a proprietary Apple codec. It's a particular flavor of MPEG-2. What Final Cut gives you when you didge HDV is the MPEG-2 video/MPEG-1 Layer 2 audio right off the camera, encapsulated in a Quicktime container file. But Apple has to pay a licensing fee for each MPEG-2 decoder they ship. That's why Quicktime does not include MPEG-2 playback. Instead, Apple ships varby Jeff Harrell - Café LA
Re: (Slightly OT) Hard Drive Q's - Suggestions Please - 14 years ago
If you've got that much data on the system disk of your edit system, you are doing something wrong.by Jeff Harrell - Café LA
Re: Really Need Help! Exporting HDV movie to H.264 - 14 years ago
Sounds like the version of Quicktime you have on your PC is ancient. Update it to the current version, then use ProRes 422 as your intermediate format.by Jeff Harrell - Compressor - Media Compression and Conversion
Re: HDV to ProRes422 Render Looks Crappy - 14 years ago
I can't swear to it, but I believe the way it works is this: If you have HDV source material on a ProRes timeline, and you export a Quicktime movie (you know, the normal way, not with any additional nonsense on top), Final Cut decodes the HDV frames, then encodes them to ProRes, then writes them to disk. If you have HDV source material on an HDV timeline, and you export a Quicktime movie inby Jeff Harrell - Café LA
Re: stills very pixelated when export movie - 14 years ago
If you look in /System/Library/QuickTime you'll find the ProRes decoder component. It's built in to QuickTime. Has been for ages and ages.by Jeff Harrell - Café LA
Re: Can a Not For Resale FCP be upgraded? - 14 years ago
The bad news is no, NFR and academic licenses are not eligible for upgrade pricing. The good news is that even if you were eligible, the upgrade would do you no good. Final Cut Pro is Intel-only now. Maybe you can find a version 6 license ? the last PowerPC version ? on eBay or something. But take care when purchasing to make sure you're getting a legit license.by Jeff Harrell - Café LA
Re: stills very pixelated when export movie - 14 years ago
QuoteData Rate: 64 kbits/sec Data Rate: 256 kbits/sec What.by Jeff Harrell - Café LA
Re: Is it bad to mix interlaced and progressive in a progressive timeline? - 14 years ago
Quote Those files were then taken into compressor to remove pulldown, however interlacing was not removed at that time. That kind of doesn't make any sense. Typo, maybe? Quote So basically now they have files that are 23.98 1080p, but still have the original interlacing built in. Yeah, that's the part that's basically impossible. Have another crack at asking this question, 'cause I'm not uby Jeff Harrell - Café LA
Re: Is it bad to mix interlaced and progressive in a progressive timeline? - 14 years ago
If you (or more to the point, your director) likes it, then screw the rules. Just send your 1080i60 material out to a post house and have it run through a Teranex for conversion to 1080p24 before you cut it in with the rest of your footage. In my opinion, none of the software frame-rate conversion options are acceptable on the big screen.by Jeff Harrell - Café LA
Re: OT Apple: The biggest tech co. - 14 years ago
This has been discussed here at exhaustive length very recently. I'm not entirely sure we need yet another thread on the subject.by Jeff Harrell - Café LA
Re: FCP or Compressor? - 14 years ago
It's DV. It's not going to look like film, no matter what. It's not going to look "as close to film as possible," because it is not possible for it to even vaguely resemble film. If some of the replies you're getting here ? mainly mine ? sound a little snippy, it's because this exact same question has been asked roughly sixty trillion times, to the point where many people ? mainly meby Jeff Harrell - Café LA
