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Your basic troubleshooting and discussion forum for all things about Avid Media Composer
Re: Video in canvas plays darker, playhead stops image lightens* - 10 years ago
What codec? This happens if you are using a non-FCP codec like DNxHD or H.264. This can also happen if your hard drive is slow...FCP lowers the quality in order to not drop frames. And you do know that the FCP Canvas and Viewer are not color accurate to begin with, right?by Shane Ross - Café LA
Re: Transcoding .MXF files for FCP7 - 10 years ago
I am talking about FCP 7. FCX doesn't do Log and Transfer.by Shane Ross - Café LA
Re: Transcoding .MXF files for FCP7 - 10 years ago
You know, Canon makes a Log and Transfer plugin for their MXF cameras (the C300, XF cameras)...it's called the Canon XF Log and Transfer plugin. Install that and you can use Log and Transfer like you do with most tapeless cameras.by Shane Ross - Café LA
Re: 29.97 vs 59.94 - 10 years ago
Ah... When I get 23.98 and 29.97...I REALLY hope I'm delivering 29.97 interlaced, because that's the only smooth way to do it. For that I use Compressor and a secret sauce of settings...that I can post if you all want me to. VERY easy. And very clean. As for 23.98 progressive to 29.97 progressive...even a terranex would repeat frames. I found that Compressor does nearly as good of a jobby Shane Ross - Café LA
Re: 29.97 vs 59.94 - 10 years ago
Loren...you are kidding, right? I mean...you are more knowlegeable about this than I am... Adding pulldown to 23.98 to make it INTERLACED 29.97 works. That's been done for years and years on TV shows. The fields in the 29.97 help smooth out the 23.98 footage. BUT...going 23.98 to progressive 29.97 doesn't work. Nor does going 29.97 to 23.98...odd random frames are removed...like every 4th onby Shane Ross - Café LA
Re: 29.97 vs 59.94 - 10 years ago
What format is this new footage? And yes, you can mix 29.97 and 59.94 together fine...they have a common frame count ratio. With 29.97, frames are simply doubled. Unlike trying to mix 23.98 and 29.97...where there's noticeable stutter because they are slightly different.by Shane Ross - Café LA
Re: Editors have you ever received this request? - 11 years ago
Because in film, there was a leader that counted down from 10 to 2. When it got to 2, it only flashed 1 frame of the 2...or a white frame...with a BEEP. Before one made the print, the audio and picture were separate, so you needed this to ensure they were in sync. Now..why two seconds BEFORE picture? So that you could ensure things were in sync...then stop the projector...set it before picturby Shane Ross - Café LA
Re: Canon mark iii Raw footage workflow. - 11 years ago
Oh, RAW raw. Not the "raw camera file" the camera produces...H.264. But "RAW!" Sorry, no clue.by Shane Ross - Café LA
Re: Canon mark iii Raw footage workflow. - 11 years ago
Use Compressor to convert the footage to ProRes 422. Either that or MPEG STREAMCLIP...but Compressor is easier with drag and drop settings.by Shane Ross - Café LA
Re: Script Supervisor - 11 years ago
Is there anything you are missing? They keep track of what camera/take covered what portions of the script. And what are the takes the director liked best. I find that helpful. And those are the basics.by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
The only 23.98 native recording format that camera offers is 720p 24PN. But 1080i 24pA, as I said, will remove the pulldown when you import...so when imported, it'll be 1080p 23.98 DVCPRO HD. And stick to using DVCPRO HD. No benefit in converting to ProRes 422. Perhaps do the final render in ProRes, or the color grade render out to ProREs. But you'll gain no quality beforehand.by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
"There is a setting for 1080i 24p, and a setting for 1080i 24pa on the HVX200 P2. " 1080i 24p will record the 24p "look" at 29.97. It'll look like 23.98, but run at 29.97. This is great if you want all the looks of 23.98, but need to deliver 29.97...which is your exact situation. Next time...use this option. 1080i 24pA is the one I mentioned. That settings puts flags onby Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
It shoots 1080p 24pA...that's 24p Advanced Pulldown...and yes, in a 29.97 stream. This pulldown is removed during the LOG AND TRANSFER process...just check off "REMOVE ADVANCED PULLDOWN" in the L&T preferences...by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
Wait...you shot TWO DIFFERENT FRAME RATES?!? And the graphics won't be coming in as 23.98? That's bad. Seriously, that's a bad bad bad idea. FCP doesn't mix frame rates well at all...and converting 30p to 24p is worse than 24p to 60i. TONS worse. If you keyed the host and GFX artists are compositing these...tell them to provide 1080p 23.98 files. After Effects can make 30p into 24p betterby Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
The Kona and other hardware add proper 3:2 pulldown on output. FCP does not, thus why you see judder if you do this on the timeline. And trying to use 60i footage in a 23.98 timeline will also judder.by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
What judder? Frames are spread out across fields. Watch a movie on HBO? Heck...a DVD? Those are 29.97...interlaced. But were shot on film, 24fps. Seriously, this is the BASICS of film to video. 3:2 pulldown. Done all the time.by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
No...720p24 converts EASILY to 1080i60. AJA Kona...and Decklink, and Matrox...add pulldown properly, just like when 24fps film is scanned to 29.97 tape. It looks great. Again, I've edited a dozen shows this way. Shot 720p24...output 1080i60. Looked great.by Shane Ross - Café LA
Re: P2 720 to 1080 - 11 years ago
Vic is EXACTLY right. Cut 720, and output 1080i. A Kona 3 will upconvert (actually, it's called "cross convert" in real time...and it's a hardware upconvert that's solid. I've cut and delivered a dozen TV shows that way.by Shane Ross - Café LA
Re: OT: Short and Long form .. - 11 years ago
Short form... :30 to like 15 min. Mainly commercials, quick corporate spots, realtor videos. Stuff under 15 min or so. Long form is typically a thirty minute TV show (22 min)...to an hour long TV show (44 min of real time...without those pesky commercials) to feature length.by Shane Ross - Café LA
Re: Video Camera Purchase - 11 years ago
I've been getting a lot of C300 footage lately...that's a Canon camera. Although not a cheap one. And it shoots MXF format, in the XDCAM 422 codec. Perfect for Avid and Premiere Pro...and a log and transfer plugin for FCP 7 is out there. XF300 is a decent one too...shoots the same format.by Shane Ross - Café LA
Re: Macbook Pro + Thunderbolt Display + HDMI TV monitor - is this configuration possible? - 11 years ago
Fix for what? You've always needed an IO device if you wanted to view your footage full screen...properly. Sure, you can view full screen on your second computer display, by going into DIGITAL CINEMA PREVIEW mode. But then you lose one monitor as a work space. This has always been the case. If editors wanted two monitors and a third client monitor, they've needed to rely on IO boxes. And as itby Shane Ross - Café LA
Re: Macbook Pro + Thunderbolt Display + HDMI TV monitor - is this configuration possible? - 11 years ago
You'll need an IO device with TB loop through. Meaning that you go from computer to IO device via TB, then TB out from that to your TB computer display. Then the IO device...HDMI to your HDTV. The only Thunderbolt IO that has loop through is the AJA IoXT. $995 UNLESS!! Your TB display has loop through (and I think they do), in which case you go TB from computer to display, then TB outby Shane Ross - Café LA
Re: OT ?: Adding a client monitor - 11 years ago
Ah...so it Mirrors. It won't really be a third monitor, but a second SECOND monitor. Hey, if that works. VGA is still a standard? That's like SD of the computer display world.by Shane Ross - Café LA
Re: OT ?: Adding a client monitor - 11 years ago
As I said, a splitter would take one monitor and span it over two...you couldn't then use one as full screen playback of your cut. Might be able to put the CANVAS there...by Shane Ross - Café LA
Re: OT ?: Adding a client monitor - 11 years ago
I tested the Matrox one...it was OK. But what this does is span the one signal over two monitors. Makes it over 3000x1200. So you can't separate them...can't put something full screen on one half of that. No express34, so no video IO options there. The only Firewire 800 option is WAY over your budget (AJA IOHD) and no longer made. Sorry, you are stuck with what you have.by Shane Ross - Café LA
Re: OT ?: Adding a client monitor - 11 years ago
Well, if the second monitor out slot is already being used, the only way to add a THIRD monitor, as a client monitor, is with a Video IO card...an older one like the MXO2 Mini that connects via the Express34 slot. That would be your cheapest option. There are USB options out there, but I haven't found them to be the best...very laggy when playing back video.by Shane Ross - Café LA
Re: Thunderbolt RAID for multicam 8/12-up Pegasus or GRAID or other? - 11 years ago
8-12 streams of ProRes 422, or HQ? Via Thunderbolt? Hmmm...unsure of that. TB is currenly only a 4x interace. You'd have better luck with Fibre or SAS. But if Thunderbolt is your only option...you might need to do an offline/online workflow with that many angles.by Shane Ross - Café LA
Re: Exporting at the wrong frame rate - 11 years ago
The fact that some of your footage isn't 23.98, and you just dropped it into your 23.98 sequence might cause some issues too. And if your sequence isn't ProRes, or some other FCP codec...or some of your footage isn't ProRes or supported codec (like H.264) that will cause issues.by Shane Ross - Café LA
Re: Editors have you ever received this request? - 11 years ago
Breaking the film into sections, or reels, or ACTS if on TV...is pretty normal. Not only managable on their end, BUT...OMF has a 2TB limit, so it's practical as well. If this is a feature, break it into 20 min sections.by Shane Ross - Café LA
