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This forum is now READ ONLY. You cannot post questions here. Post on CAFE LA
PP CC Audio Delay - 8 years ago
I'm experiencing audio delay on two different older Mac Pros A 2008 3,1 and an early 2009. Different clips and sequences. If I step through the timelines frame by frame, the audio is in sync. But a big delay in playback and video seems to studded a bit too. Both are running OSX 10.9, 32mb men, 7200 stripped raid, and both run FCP 7 well. ?? Scottyby sgscott - Adobe Premiere Pro CC
Re: Canon Mark III footage in Premiere Transcode or not - 8 years ago
Wow! That sounds great. Can't wait to try it. I took a quick look at your article. Looks to be very helpful. Thank you so much. Scotty.by sgscott - Adobe Premiere Pro CC
Re: Canon Mark III footage in Premiere Transcode or not - 8 years ago
Thanks strypes. Are we talking FC and Plural Eyes here, or are you referring to PEs in Premire?by sgscott - Adobe Premiere Pro CC
Re: Canon Mark III footage in Premiere Transcode or not - 8 years ago
Thanks, Joe.by sgscott - Adobe Premiere Pro CC
Re: Canon Mark III footage in Premiere Transcode or not - 8 years ago
Looking for suggestions on editing workflow processing for a recent shoot. We shot with a Canon Mark III in H.264 (1080, 24p), which is a compressed format and not normally an editing format. And separate audio. We have been using FCP 7; but wanting to try Premire CC 2014. How should I prepare for editing? Should I transcode (and to what format?), and then match the audio in a sequenby sgscott - Adobe Premiere Pro CC
Re: P2 720 to 1080 - 9 years ago
Got it. Thanks. I guess I was wondering about whether there would be any editing benefit?by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
So it sounds like neither one of these really records in 23.98 and would have to be converted if we edit at 24p?by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
I'm just barely hangin' on here folks. I got confused, Shane, when you mentioned "24pA" and "29.97 stream". There is a setting for 1080i 24p, and a setting for 1080i 24pa on the HVX200 P2. Also, when capturing the P2 footage, does anyone have a preference as to Pro Res 422 (HQ), or DVCPRO HD which is the native footage? Also, the consensus at this point seems to be:by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
On the HVX200 P2 there is a 1080i 24p setting. Is that what you mean? I could try. Sure.by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
The reason for the gs shots being shot at that res is because I have tried keying 720; but the keys are never as good as at the higher res shots. GFX has the same issue. I use a Keylight plugin for fcp.by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
We are using FCP 7, FCS 3 GFX AE, 4D, etc. I also have a Kona LHi Also Episode and Compressor 4.1by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
We can direct the gfx artists to produce whatever. That's not a problem. Also, we haven't yet shot most of the gs's. I am currently in the process of capturing the P2 footage using L & T and was capturing it using the native DVCHD 720p60. I wasn't sure whether to use that or Pro Res 422 (HQ), or whether I should be trying to upres during capture using something else?by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
Another consideration we have is that graphics are provided at 1080 30p (a lot of this throughout 13 episodes), and green screen shots at 1080i 60i (best resolution we can get from the Panasonic P2) for keying. The gs shots are mainly host narrations interspersed throughout.by sgscott - Café LA
Re: P2 720 to 1080 - 9 years ago
Thank you everyone, for your contributions. Very helpful. The footage is 720 24pby sgscott - Café LA
P2 720 to 1080 - 9 years ago
I'm on a new project where the lion's share of footage was shot on HVX200 P2 720p. The delivery is to 1080i and the editor wants to setup sequences for 1080. There is no upres in log and transfer. Asking for suggested workflows? Should I upres the 720 qt's, leave it as 720 qt's in 1080 seq's? Not sure what is best or what to suggest. Any help would be appreciated. Thanks in advance.by sgscott - Café LA
Meters that work—BS.1770-3 (-24 LKFS) - 9 years ago
I found a meter set that works in SoundTrack Pro for $79. It's really made for ProTools; but the AU side works. Vsonic Vmeters It is supposed to work in FCP as well, but doesn't as yet. I've written to them and let them know—we'll see. Not all the features work, like the log, and if you apply the meter to a track—it fails; but it is a good solution for measuring the levels to the broby sgscott - Café LA
Multiclip Workflow - 9 years ago
I have been given the task of assembling a FCP 7 multiclip timeline (not necessarily using the multi-clip function of FCP 7). 5 angles + pcm audio to be synced several hours Main 2 angles: P2-DVCPRO HD, 720*960 p , 23.976, 4:2:2 (ingest: L&T-native (DVCHD...) Secondary 2 angles: AVCHD-H.264, 1920*1080 iT, 29.970, 4:2:0 (ingest: L&T-ProRes 422) Secondary 1 angle: AVCHD-MP4 , 1920*1by sgscott - Café LA
Re: Converting 23.98 times to 29.97i - 9 years ago
Hey Shane, Just read your article. Thanks for the Workflow. Interestingly, after much struggle and back and forth with my project, I thought, why don't I make a 29.97 timeline and see how it comes out. Then after struggling with that for a while I thought, why don't I just use a slug for time? Long story short, wish I had read your article first. Now that I have, I have some insight to; &qby sgscott - Café LA
Re: Converting 23.98 times to 29.97i - 9 years ago
Hi Ross and Shane, Yes, 29.97 DF is what I'm delivering. So I gather from what you are saying that what I am ending up with is valid for broadcast and represents realtime, that will work then. Thanks.by sgscott - Café LA
Re: Converting 23.98 times to 29.97i - 9 years ago
So... let me ask you guys, even though the time code shows 28:30, is that from a realtime basis, or at least from a broadcast eng's perspective? How would I make a realtime determination? Is it necessary? Thanks.by sgscott - Café LA
Re: Converting 23.98 times to 29.97i - 9 years ago
Oops, Yes, that's right - DF.by sgscott - Café LA
Re: Converting 23.98 times to 29.97i - 9 years ago
I've updated the post a few times. I think it is right now. Also tried to clarify by writing the description a little differently. But, it does work this way. I didn't realize that the 23.976 was a NDF format; but the end result needed was DF for broadcast—That is why it starts at 00:59:00:02. If by "real work clock" you mean actual time, it does come out to the right durationsâ€by sgscott - Café LA
Converting 23.98 times to 29.97i - 9 years ago
Didn't know if this would be of any use; but I thought it might help someone. I had a 23.98 (DVCPRO) timeline that needed to be timed to a TRT: 28:30 mins.; then delivered in a 29.97i format. The following are the times I used to get the 24p to come out to the right times after transcoding. Timing When Transcoding for Broadcast 23.98 fps NDF (Progessive) 00:59:00:00 Sequence Startby sgscott - Café LA
Re: Broadcast: What is needed? - 10 years ago
Thanks Joey. Great advise. The suggested file profile is very helpful too. A good rule of thumb.by sgscott - Café LA
Re: Broadcast: What is needed? - 10 years ago
That's encouraging...! So the text touching the title safe is an issue? I'd never thought of that one! I do have some specs from two of the broadcasters, and I see what you mean. So we want to deliver the right format. Does that also count for review? Do you have any insight to pitching it?by sgscott - Café LA
Re: Broadcast: What is needed? - 10 years ago
Thanks so much for the 2¢. I appreciate it. I'll be looking, but do you know of any broadcast consultants I could contact? I didn't know there was such a thing.by sgscott - Café LA
Broadcast: What is needed? - 10 years ago
This is a query for broadcast expertise. I was thinking there must be some broadcast people in this group. We are trying to figure out what type of equipment is necessary to do a daily broadcast quality, 30 min show that will be presented to broadcasters. We have been doing a daily, 30 min, streaming podcast for 2 years now, with a NewTek Tricaster 300; but the quality of the show has not bby sgscott - Café LA
Re: Closed Captioning and Digital Delivery - 10 years ago
Compressor is supposed to be able to incorporate Closed Captioning while transcoding by adding it to the Additional Information tab of the Source file. The criteria is that the time codes of the source file and the time stamps in the .scc file (closed captioning file) match; which I checked and they do coincide. The problem though, is that it didn't seem to work. I created a .mpeg file; butby sgscott - Café LA
Closed Captioning and Digital Delivery - 10 years ago
How is closed captioning delivered when delivering digital files to a broadcaster? Is cc somehow encoded in the mov file or are the cc files just included on the media?by sgscott - Café LA
