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Show all posts by userPost here if you are having issues with Apple Compressor, codec and format conversions, making files for the web, or issues or questions with other compression programs.
Alternative to x264encoder - 10 years agoI've long been using x264encoder as my standard h.264 encoder, because it is faster than Apple's, delivers significantly better quality, more control, and less gamma/color shift (also, it allows to tag on profiles). But unfortunately, development for it has been discontinued over 2 years ago and I am starting to wonder if there are more current and better alternative by now.by Danqi - Compressor - Media Compression and Conversion Create 25fps DVD from 12fps movie - 13 years agoThis stuff has surely been covered many times, and I did search. But unfortunately I just managed to confuse myself.... What is the most elegant and simple way to create a 25fps PAL DVD from a 12fps project? I have never used Cinemal Tools (I don't even have it installed). Can I do this using Compressor? I really don't want to interpolate frames, but I have no problems with a slight speed chanby Danqi - Café LA Re: HDV rendered as ProRes export problem - 14 years agoSo - just to be clear - do you think I should change all my timelines and nested timelines and timelines nested in other timelines and.... well, just change all my timelines to ProRes by simply going to sequence settings and changing the "Compressor:" setting to "ProRes (HQ)"?by Danqi - Café LA Re: HDV rendered as ProRes export problem - 14 years agoThanks for your answer Jeff. I guess I will rerender everything as ProRes for my final master export. Either by changing the timeline settings to ProRes or by exporting it using QuickTime Conversion. But what about preview versions for the client? I can't afford to render 5 hours everytime I made some changes and the client wants me to sent him a quicktime for approval. Is there any way to getby Danqi - Café LA HDV rendered as ProRes export problem - 14 years agoI have captured and edited HDV as HDV but with render as ProRes enabled. My final timeline has been rendered completely (global color correction). When I export it as a QuickTime Movie it takes an extremely long time (many hours) even without "Make Movie Self-Contained" selected. That puzzled me until I noticed that FCP transcodes everything back to HDV during export. Of course, I don'tby Danqi - Café LA Re: Color Correction for Online Delivery - 16 years agoI see. I just thought that maybe there is some kind of an average setting that I could calibrate to. For example, there would be no point in having my monitor calibrated to 6500K and 1.8 gamma, when 95% of all the monitors in the world would be around 8000K and 2.2 gamme, or something like that.by Danqi - Color Re: Getting by without a reference Monitor - 16 years agowayne granzin Wrote: ------------------------------------------------------- > the "requirement" for a properly calibrated > monitor also depends a lot on the kind of work you > do and who your clients are. > That's a really interesting point, because my next project will be shown only on the internet. I have actually just started a thread in the Color forum, whichby Danqi - Café LA Color Correction for Online Delivery - 16 years agoVery soon I will be editing and color correcting a project shot in 720p intended for internet distribution (on sites like YouTube but also in higher quality through it's own site). 1.) How do I calibrate my monitor for this kind of color correction? I do not own an external reference monitor, but I hope that this one time it is really not needed, since the film will only be seen on computer moby Danqi - Color Re: Getting by without a reference Monitor - 16 years agoYeah, well, I kinda expected this. I guess I was just hoping that because I am not interested in cutting interlaced footage and because my iMac's monitor is a flatscreen and because most TVs nowadays are also flatscreens somehow I... ...well... ...or not. Dumb thing is I am working on private low-budget projects right now, no more client work. Free but poor. No money for equipment.by Danqi - Café LA Getting by without a reference Monitor - 16 years agoI guess this question may be a little bit provocative, but here it goes: I want to edit and color-correct accurately, but can't afford a reference monitor right now. Also I plan to edit HD in the near future and especially can not afford an HD reference monitor. But I do own a Gretag Macbeth Eye-One monitor calibration thingy, which I use to calibrate the monitor of my iMac for Photoshop woby Danqi - Café LA Re: DigiBeta Workflow - 16 years agoBen King Wrote: ------------------------------------------------------- > Its convoluted but maybe the Avid is booked for > something else? > > Maybe there is not enough storage for editing on > the Avid at 1:1 or 1:2? > > Maybe just maybe the editor can stand Avid editing > and demands to use FCP! (I would if I had a say!) Yupp, that's pretty much it. Theby Danqi - Café LA Re: DigiBeta Workflow - 16 years agoIt's Avid on a Mac. Thanks for the info! I'll try it out.by Danqi - Café LA DigiBeta Workflow - 16 years agoI will capture a lot of Digibeta tapes using an Avid Media Composer with a Mojo attached, simply because I do not have the technical means to capture directly into FCP. I will then edit in Final Cut Pro. What do you think of this workflow: Capture in Avid using its 1:1 codec. Then export as DVCPro 50 Quicktimes. Then import and cut that in FCP and export master. There will not be heavy coloby Danqi - Café LA Keeping the Viewer Window Active - 16 years agoThis is not a big deal but actually quite annoying to me: Most of the time when I perform an edit (for example by pressing F10) I would like the Viewer window to stay active so that I can search for the next clip I want to use right away. Instead the timeline always becomes active and I have to manually switch back to the viewer which can get a little tiresome after a few hundred edits. Is thereby Danqi - Café LA Re: Native Timeline for JPEGs - 17 years agoI see. I was planning on working in 768 x 576, but good old 720 x 576 should also be suitable. I will work in that resolution using the uncompressed 8-bit codec. Thanks a lot!by Danqi - Café LA Re: Native Timeline for JPEGs - 17 years agoThanks for the tip, but since we are talking about thousands of stills here, that seems to be a bit cumbersome. I just found out something interesting: I forgot to mention that I set the resolution of the sequence to 768 x 576 px (which is the standard for square pixel PAL, which I will be creating). As soon as I change the resolution to 720 x 576 the red render bar becomes green, making coby Danqi - Café LA Re: Native Timeline for JPEGs - 17 years agoI will be outputting in PAL, but would like my source material to be bigger in order to be able to zoom in. I guess I am just gonna have to deal with rendering. Thanks for the info!by Danqi - Café LA Re: Native Timeline for JPEGs - 17 years agoThat's exactly what is puzzling me. When I choose Photo-JPEG as a timeline codec that should match the content (the JPEGs), right? Or at least a timeline set to TIFF should match my tiffs, shouldn't it?by Danqi - Café LA Re: Native Timeline for JPEGs - 17 years agoI am sorry, these are my specs: Running MacOS 10.4.8 on a 2 Ghz Intel Core Duo with 2 GB RAM. FCP is at version 5.1.4. You can download one of the images here: [85.25.20.225] The others are the same. Thanks!by Danqi - Café LA Native Timeline for JPEGs - 17 years agoHi there, I am currently working on a timelapse film shot with a digital SLR and I have trouble importing all the pictures into my FCP timeline. I have tried importing the images in their native JPEG format as well as converted to TIFFs. Yet unfortunately, they always show up with a red render bar in the timeline. I have set my RT settings to be as tolerant as possible and I went through the sby Danqi - Café LA |
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