Luke Renner
December 11th, 2004, 12:59 AM
Ok folks. I could use some help.
I am an AVID Symphony editor who is in the process of moving over to FCP. Along with the benefit of FCPs flexibility over the AVID comes the problem of FCP's flexibility over the AVID. It's greatest strength is it's greatest weakness.
It seems that it can either do SO MUCH that it's hard to get my basic needs figured out (it always just worked on the AVID) OR... FCP just cannot DO what I need it to do.
So HERE'S my problem.
- Shot a bunch of footage on my brand new XL2 in Haiti.
- Offline edited a 22 minute overview of that footage.
- Onlined that sequence using FCP's 10-bit uncompressed codec.
* footage came in via firewire from a JVC DV600UA deck.
On wide shots that contain visual complexity (such as grass, rocks, corn stalks, trees, etc.) It is an aliased MESS. CREEPY CRAWLY. Looks like total CRAP.
- hooked the JVC deck directly up to a TV monitor (with a composite RCA cable) and the same spots that looked GOD-AWFUL in FCP's 10-bit uncompressed codec... looked absolutely FINE coming off the tape. So it's NOT ON TAPE THAT WAY. Likewise, the deck is not introducing this mess of crap from the video heads.
What is my problem? I have several thoughts...
- Should I be doing this in 8 bit? (seems like that would be lesser in overall quality)
- Is Firewire to blame? Do I need an Aja box?
- Is this an RGB/YUV issue? If so, please explain?
I'm just really stressed about this. I pray to God that one of you has already been through this and can just tell me to uncheck some box or tweak some setting. With all of FCP's propoganda, you'd think their software could handle something as "real-world" as leaves on a tree WITHOUT ARTIFACTS.
Please HELP!!!!!!!!!
Luke
I am an AVID Symphony editor who is in the process of moving over to FCP. Along with the benefit of FCPs flexibility over the AVID comes the problem of FCP's flexibility over the AVID. It's greatest strength is it's greatest weakness.
It seems that it can either do SO MUCH that it's hard to get my basic needs figured out (it always just worked on the AVID) OR... FCP just cannot DO what I need it to do.
So HERE'S my problem.
- Shot a bunch of footage on my brand new XL2 in Haiti.
- Offline edited a 22 minute overview of that footage.
- Onlined that sequence using FCP's 10-bit uncompressed codec.
* footage came in via firewire from a JVC DV600UA deck.
On wide shots that contain visual complexity (such as grass, rocks, corn stalks, trees, etc.) It is an aliased MESS. CREEPY CRAWLY. Looks like total CRAP.
- hooked the JVC deck directly up to a TV monitor (with a composite RCA cable) and the same spots that looked GOD-AWFUL in FCP's 10-bit uncompressed codec... looked absolutely FINE coming off the tape. So it's NOT ON TAPE THAT WAY. Likewise, the deck is not introducing this mess of crap from the video heads.
What is my problem? I have several thoughts...
- Should I be doing this in 8 bit? (seems like that would be lesser in overall quality)
- Is Firewire to blame? Do I need an Aja box?
- Is this an RGB/YUV issue? If so, please explain?
I'm just really stressed about this. I pray to God that one of you has already been through this and can just tell me to uncheck some box or tweak some setting. With all of FCP's propoganda, you'd think their software could handle something as "real-world" as leaves on a tree WITHOUT ARTIFACTS.
Please HELP!!!!!!!!!
Luke