HD/SD Smooth Cam Compression nightmare!
If anyone can help I will be forever grateful -
I am not an editor, but our editor left and now I am in a fix! While I can tell a great story working out work flows and codecs is really not my thing!
We have a DVD thats needs delivering and currently while it looks great on the edit suite when viewed on a TV there are lots of judders and distortions and I need your help to tell me where I am going wrong!
The footage is both SD and HD:
The HD is filmed on an EX3 SxS 50i
The SD is old stock footage on DV tapes (PAL)
Initially the HD footage was cut on a timeline that matched the footage. It was then copied onto an SD DV-PAL timeline and rendered. The SD footage was inserted and different effects were put on (cross fades, smooth cam etc).
It was then colour corrected and final mixed and looks great when I play it back on the timeline.
It was then exported as a Quick Time movie - taken to our other edit suite which has compressor and compressed as a 90min best quality DVD.
It looks great on the computers but - its horrid on a TV and this DVD is meant to be shown on big screen TVs at the airport.
The main issues are:
Any panning shot (HD) has jagged edges - I think it could be an interlacing issue - I noticed every HD shot when it was brought onto the SD timeline had a shift frame added in the filters. Is this wrong??
Some of the aerials which I added smooth cam to (which looks amazing on the edit suite) flicker, judder and generally look horrendous!
Every time I seem to fix one shot and re-compress another one seems to mess up. I am guessing it is something fundamental that is wrong??
I was hoping someone could give me a run through of not just what I have done but a work flow to follow that shows the best way to edit a mixture of HD and SD footage. How best to down convert it and export it. I really am an editing dummy so if you could explain things step by step - at this point I truly don't mind being patronized.
Thanks in advance
generaly when something looks fine on a computer, and NOT fine on a TV, it is a feild issue.
be warned: in FCP, and on a compotuer you DO NOT see interlaced video.
so you can very easily miss fiield isues
"I was hoping someone could give me a run through of not just what I have done but a work flow to follow"
i would say you need to be able to view what you have in FCP on an external "TV Style" monitor.
there is no way at all to identify the problems in FCP any without this.
these days it is realy affordable to get some sort of box to do this
look at the black magic "intensity" range
BUT you may need an "expert", or at least someone experienced, to help you pinpoint the prolbems, and to fix them on a shot-by-shot basis.