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This forum is now READ ONLY. You cannot post questions here. Post on CAFE LA
6 channels in one track - 8 years ago
I need to export a .mov file having the 6-channel audio in a single track, called "multichannel" or "6 discrete channels" track in QT lingo. (Some downstream software is demanding the audio be that way.) The Audio Outputs tab in the FCP7 sequence settings groups the channels into twos like so: So the 6-channel sound can make between three tracks (all stereo) and six traby dcouzin - Café LA
Re: Too many tracks! - what to do - 8 years ago
QT Edit, by our own Jon Chappell, is also good for deleting extra sound tracks. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: Reduce Noise from Canon C100? - 8 years ago
Increase the exposure by increasing the lens aperture or the scene illumination. The Canon-log curve has much latitude on the high end so it's hard to overexpose. When you haven't those exposure options, denoise the image after. Neat Video does a pretty nice job on noisy C100 blacks. I think it is 8-bit processing but so is the C100. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: convert 50i into 25p - 8 years ago
Nick: my experience is with DV-PAL You've got just 288 lines in a field and bad deinterlacing looks bad. The FCP7 deinterlace filters are garbage. Compressor's "Better (Motion adaptive)" deinterlace is decent. Compressor's "Best (Motion compensated)" deinterlace produces some nasty artefacts. I'm sure there are better deinterlacing algorithms out there. Dennis Couzby dcouzin - Café LA
Re: convert 50i into 25p - 8 years ago
Graeme: I guess that's expand up and expand down alternating fields. But there's better deinterlacing available than line doubling, which was my motivation for working out the double deinterlacing routine in 2012. It lets you use the best 50i-to-25p deinterlacing you can find, twice, to do 50i-to-50p. It's too tedious to be practical, but that was its concept. Now we should evaluate the verby dcouzin - Café LA
Re: convert 50i into 25p - 8 years ago
mikalordet: You are asking how to deinterlace some of the 50i to 25p and to "double deinterlace" some of the 50i to 50p, and then to stick the 50p in amongst the 25p as slowmo. I don't think FCP7 can do the first deinterlace decently or the second deinterlace at all. If you have FCP7 then you probably also have Compressor and Cinema Tools. If so do the following: Put the 50i materby dcouzin - Café LA
Re: Urgent -Out of Focus footage - 8 years ago
QuoteJoe Riggs UPDATE - OK, from what I understand I think the lens wasn't "parfocal" and that's why it wouldn't hold focus, I was going off the small lcd and that is why things looked focused. But you focused the zoomed-in image on that same small display. If you could judge sharpness then you could also judge it when zoomed-out. Like all of us, you trusted the zoom to "holdby dcouzin - Café LA
Re: external drive for MAC Tower - 8 years ago
Dee: if you choose to use external drives you must also consider how they will be connected to the computer. Mac towers have slow USB 2.0 ports and faster FireWire 800 ports. But even FireWire 800 is not fast enough to reap the full speed of a good single hard drive, much less a RAID array. You can edit HD footage with Firewire 800 connection speed but it can bog down where there are multipleby dcouzin - Café LA
Re: 16mm transfer formats - 8 years ago
30 fps can be either 60i or 30p. 29.97 fps can be either 59.94i or 29.97p. All four animals lurk in the video jungle. While you weren't noticing it, other video people found 29.97p to be a godsend. I think it's fair to insist that whoever describes their video as 25 fps, 30 fps, or 29.97 fps must indicate whether it's interlaced or progressive. It's much more than a technical detail, like Pby dcouzin - Café LA
Re: Original is 29.97, compressed to an mp4 is 23.976 - 8 years ago
A problem with that approach is that different players will play 24p differently. Let him play it on the most horrible, so the two horribilities add. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: NTSC footage - every 5th and 6th frame is the same - 8 years ago
I assume he's salvaging the footage, to be 24p footage again for use in a 24p timeline. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: Original is 29.97, compressed to an mp4 is 23.976 - 8 years ago
Allow me to skip the NTSC decimals. (Read 30 as 29.97, 24 as 23.976, 60 as 59.94, if you must.) If the original master file is progressive 30, so please do call it 30p, then your 24p was probably extracted from it like so: Keep the first frame. Keep the next frame. Keep the next frame. Keep the next frame. Throw away the next frame. Repeat from start. This makes 4 frames for every 5 fraby dcouzin - Café LA
Re: 16mm transfer formats - 8 years ago
QuoteNick Meyers 29.97 and 23.976 are compatible in some ways frames (or half frames, really) are added to the film to time it out to 29.97 Nick's reference to half frames (fields) shows that his 29.97 is 59.94i. Please, please, all forum members, don't call material simply 29.97 or 29.97 fps when there can any question whether it is 29.97p or 59.94i. If you must call 59.94i 29.97i, OK, juby dcouzin - Café LA
How's your banding? - 8 years ago
I made short clips to test banding. They can be downloaded here (8 MB). The frame consists of 32 vertical grey stripes that move slowly leftward. Each stripe differs from the next by one unit in 10-bit luma. I believe a proper display would show no visible edges or bands. It's not so in my display. How's yours? There are two versions of the clip in the download. One is in ProRes HQ andby dcouzin - Café LA
Re: 16mm transfer formats - 8 years ago
Sure, 24 fps should stay 24 fps. Sorry I overlooked that the 16 mm was B&W. Then 4:4:4 serves no purpose. In fact, the subsampled chroma information in 4:2:2 also serves no purpose. The ProRes codecs handle this intelligently. A B&W ProRes 4444 file is exactly the same size as a B&W ProRes 422 HQ file, and the latter is just half the size of a color ProRes 422 HQ file. I recby dcouzin - Café LA
Re: 16mm transfer formats - 8 years ago
16mm film contains too fine detail for 720x480 pixels, so it's worth rescanning. But how will you cope with the wide shape of the HD frame? Will you crop off tops and/or bottoms of the 16mm film to make it 16:9? That will reduce the total image detail by one-fourth, as well the ruin some compositions. Or will you pillarbox the 4:3 shaped 16mm image into the 16:9? Is HD that's one-fourth blacby dcouzin - Café LA
Re: PAL Digibeta masters just arrived, a technical query - 8 years ago
As Nick explained, looking at any frame that includes movement on the viewer at 100% will reveal interlace. You can open the video in Avid and view it field-by-field to determine the field dominance (upper first vs. lower first). I posted an FCP7 method for seeing fields that reveals the dominance. Three things can be wrong with someone's "upper field first ProRes". 1. The top lby dcouzin - Café LA
Re: MTS files in FCP 7-Problem - 8 years ago
J.Corbett: ProRes 422 HQ requires 50% more space than ProRes 422. "An incredible amount"? Maybe. So this is an important decision for the editor. My decision was based on sharpness and related image quality. You base your decision on your scopes. But scopes don't reveal anything about sharpness. In 2010, Strypes and I did experiments comparing the different ProRes codecs throby dcouzin - Café LA
Re: MTS files in FCP 7-Problem - 8 years ago
@Stan Are the two images "similar to a drop shadow" due to interlace? When you set the FCP7 canvas to 100% do you see interlacing? You can use my old method for seeing fields in FCP7 to see what's going on. Saying they're MTS files says they're AVCHD, so H264, but this still leaves many options. Are they 1920x1080 or 1280x720. Are they 24p, 25p, 30p, 50p, 60p or are they interlaced? Cby dcouzin - Café LA
grading on monitor for projection - 8 years ago
I was grading a video on a monitor. The video will be made into a DCP and projected in a dark theatre. So I tried to make the monitor viewing emulate the theatre viewing. I fully darkened the room. I tried reducing the monitor white to 60 nits but this reduced contrast to just 500:1. The monitor achieves 750:1 at 140 nits. I tried viewing the 140 nit monitor through 0.4 ND filters. I thinby dcouzin - Café LA
Re: NTSC footage - every 5th and 6th frame is the same - 8 years ago
Converting 24 fps footage to 30 fps would make 5 frames from 4. So you must remove every fifth frame, but you asked how to remove every sixth frame. You can do such removals using either FCP7 (with no frame blending) or Compressor (with Fast (Nearest frame)) speed increase. In FCP7 you enter the speed; so removing every sixth frame requires 120% speed. In Compressor you enter the duratiby dcouzin - Café LA
Re: brightness of subtitles - 8 years ago
I'm happy to report that the director decided to make the subtitles 50% bright in just a few scenes, and 75% bright in very many scenes. Will this fiddling appear pretentious? Hopefully it won't be noticed at all by the viewers who aren't reading the subtitles, and for those who need to read them it's sufficient that they're legible. Deciding which subtitle would have which brightness was acby dcouzin - Café LA
Re: brightness of subtitles - 8 years ago
Nick & Jude, thanks for your answers. Concerning the monitoring, it's not on a broadcast monitor but I'm 99% sure, after verifying calibration by a method described in this forum, that it's faithful to BT.709. I mean strict BT.709, with Y' between 16 and 235 and Cb,Cr between 16 and 240 (talking 8-bits), so {16,128,128} displays with the monitor's black and {235,128,128} displays with the mby dcouzin - Café LA
brightness of subtitles - 8 years ago
An untechnical question, and not specific to FCP7, although I'm making the subtitles in FCP7. How bright should burned-in white subtitles be? There are some dark scenes where full white subtitles are really obnoxious, ruining the image. Making them 40% white is plenty adequate for legibility. Also there are some normal scenes having no full white in the image. Even here full white subtitleby dcouzin - Café LA
problematic image sequence exports from FCP7 - 8 years ago
TIFF image sequences exported from FCP7 (using QuickTime Conversion) have two problems. First, the exported TIFFs get a gamma boost of 22%. It seems to be Apple's mad attempt to bridge their change from their old default gamma 1.8 to their new default gamma 2.2. It's easily worked around by applying a gamma reduction to the video before export. (The FCP7 filter named "Gamma" is aby dcouzin - Café LA
Re: Bringing in jpeg, looks blurry - 8 years ago
QuoteNick Meyers 300 dpi is overkil for video, and in fact dpi is sort of irrelevant. try making 72dpi copies, see what they look like. remember your computer screen probably has more resolution than most video you are working with, so a still image may lose resolution may lose resolution when you start working with it as video. To further Nick's points. 'dpi' usually pertains to paper copby dcouzin - Café LA
Re: Canon C300 workflow for FCP 7.0 ? URGENT! - 8 years ago
The latest version of FCP 7 was 7.0.3, not 7.3. Anyhow, the Canon Utility works with any version of FCP 7. Note that Canon uses MXF OP1a, one particular flavor of MXF. The full Canon Utility is: Canon XF Utility 1.3.2 for Mac OS X The little Canon Plugin is: Canon XF Plugin for Final Cut Pro 1.4 You can download these at: usa.canon.com There you enter your OSX and select Software, not Uby dcouzin - Café LA
Re: Optimizing green screen - 8 years ago
Reduce the shutter time of your camera. Dennis Couzin Berlin, Germanyby dcouzin - Café LA
Re: Apple ProRes - which version based on these edit requirements? - 8 years ago
Alex, the Apple ProRes White Paper is a good place to start learning about that family of codecs. This graph on page 14 is relevant. For a particular image -- Apple doesn't say which -- the first ProRes HQ copy of that image has a small pixel-by-pixel luma disagreement with it shown by its PSNR of 53.5. For perfect agreement PSNR is infinite, but 53.5 is quite good. 53.5 implies that piby dcouzin - Café LA
Re: Conversion - 8 years ago
QuoteNick Meyers 4k would be too large for FCP7 Nick is right. I thought BigBobFCPMan wanted to edit strictly online, hence his choice of ProRes HQ, and I trusted FCP7's documentation that it could handle 4K, except without "full real-time playback". I just made a 4096x2304 ProRes HQ and put it on a RAM disk to test FCP7. Playback in the canvas was smooth, but horrors: the colors cby dcouzin - Café LA
