Metadata a love letter to future

When some people don't care about metadata. They just "convert" making a new file taking out original file metadata information do the offline edit and sound. Later at the very last stage realise the blunder instead of "transcode" which only implies changing of codec, compressing the clips to reduce compute lag (stress on CPU) and keeping metadata intact with metadata burn ins overlay with right font size which helps.

 

During DI people learn their mistakes. People call me like it will be a instant solution. But I have to find a methodology based on the project complexity and number of takes and visually match the clips frame by frame also making sure it sync's with the sound.

 

P.S - It's all about figuring out and getting started. Mistakes will teach you.

A look into post production workflow management

A look into post production workflow management from Utsab Bandopadhyay

 

Updated Link: https://drive.google.com/file/d/1qVbj0axaBONyZ031l3S6Grj_YxMt1VKN/view 

Difficulties faced with new Final Cut Pro 10

1. When clips are moved since its a magnetic timeline other clips takes its place unless you use the position tool. It creates audio sync issues.
Solution - "tilde" key (~)

2. It takes more time to shift clips if you are on a project where you have to trim the timeline. Lets say the total timeline duration is ten minutes where the client needs it to be three minutes now. If you have a transition. It does not allow you to move swiftly. Worst it does not have a lock feature. I don't know why apple does not want to add a feature called 'magnetic timeline lock'.

3. The AV out feature does not work. In my case with my Sony TV. I tried playing with the mirroring settings but unlike FCP 7. Since it's one window moving. It's does not help if you move the app to secondary window. It also creates problem doing the color grading process if you have a small screen.

4. There is no drag drop feature instead we have to copy attributes or press shift + cmd + v.

5.No OMF output. If want to sell professional editing software better provide industry standard tools and solutions.The solution is to use 'FCPXML TO AAF' http://www.x2pro.net/ 

6.Most of the fcpxml files don't match up in DI software's or fcpxml is still not supported.

7. There needs to be easy Dolby/DTS settings for theatrical release.

8. Final cut pro 10 does not have a DCP out or advanced DVD burning settings.

How to fix DVD Architect Pro preview

Problem - When you preview the menus. It goes 'Full screen' instead of showing remote.

Solution -
If you press 'F9' you can escape full screen.

You can also reset from CPU to restart your computer. Only if it does not quit 'Full screen'.

This error may occur if you don't have second external monitor.

Please follow the steps to fix the preview:

Open, DVD Architect Pro

 Go to 'Options - Preferences

Go to 'Video Device' tab

 Now change the device to your default Device.

Apply and OK.

Frame rate Vs Ntsc and Pal

FRAME RATE: 

The number of images showed in a sequence in a second to give the pictures the illusion of movement. The measurement of frames in a second is called frames per second (FPS).

FILM:
It runs on 24 FPS (Traditional standard frame rate)

But now days you may shoot on 23.98, 24, 25, 29.98, 30 or 48 fps and have the same playback on digital projector or device.

DVD requires conversion from 25 fps pal to 30 fps ntsc for different regions in the world to play back on television or the reverse due to different systems.

(Update - Streaming Platform may have 23.976 or 24 fps requirement. Mostly are okay with any fps.)

OR

Shoot as 50, 60, 48, 72, 120, 1000 fps and slow down to get slow mo effect played back as 24 fps in movie theatre or 25 fps on television.

TELEVISION:

WIKIPEDIA

NTSC: National Television System Committee

30 FPS

Lines/Field: 525/60 (SD)


PAL: Phase Alternation Line

25 I FPS or 50 I

Lines/Field: 625/50 (SD)

IMAGE SOURCE

HD Lines: 1920 * 1080 I broadcasted as interlaced.

The videos when broadcasted its broken into odd and even lines for the older television which represents videos in lines.

I - Interlaced which means two fields. (Odd and even lines)

Example:

50fps (25+25=50) has two horizontal lines in single frame.

60fps (30+30=60) has two horizontal lines in single frame.

P - Progressive single filed.

Broadcasted as 1080I High Definition or 720 Standard Definition
(NTSC - 720 * 480/ PAL - 720 * 576 ).

Also read article: Why digital film looks so milky

Apple ProRes 444 codec with Gamma issues

Screen Grab

This is my 2012 diploma film G A P exported from Final Cut Pro 7. As you can see the difference shown on the above image master QuickTime MOV generated from .dpx frames in DaVinci and the Apple QuickTime ProRes 444 exported from Final Cut Pro with sound and subtitles slapped looks darker. Eventhough the H.264 are more compressed but the codec retains the Mov gamma (brightness).

G A P link: https://www.youtube.com/watch?v=PfxKfRkZYHQ&feature=youtu.be&list=UU9XMFY1tbI4CBh1__SDRvQQ

Low Cost SD to HD digital conversion

Assuming your master video file is at 720x 576 pixel size. You can do it cheaply using Adobe After Effects with a 30 day trial version.

In Adobe After effect make a 'New composition' 

(Press Command+ N in mac or Control+N in windows) 

Click to open the screenshot in new tab

Now create comp with the custom preferences of 1280x720 (Width x Height) and set the right frame rate and then 'Import' the video in after effects.

Now drag & drop the the video clip in the timeline or in the 'comp' in the browser window.

Right click on the visible clip and go through the pop up menu to Transform and click on fit to comp (Alt+Command+F in mac or Alt+Control+F in windows)

Now the Adobe after effects will automatically resize the canvas.

Now select the clip in source comp windows besides the time line and go to composition in the menu and select Add to Render (^+Command+M in mac or ^+Control+M in windows)

Now a render window will open in the timeline window 

Go to Output module and set your encoding setting and then go to 'Output to' and set the destination for the output.

Even though this is a low cost remedy process to upscale a video there is a marginal quality loss for which you may need to set the contrast and brightness. The higher you scale lets say 1920 x 1080 P there will be some kind of pixel stretching.