Field-/locationrecording for film & video

Searching for tips about a recording setup for field/location use. My purpose is to record 4-5 wireless + 1-2 boom mikes in the field. The ability to timestamp files by incoming TC would be a strong plus. Also syncing to the cameras sync/blackburst videosignal.
Currently using a 4-channel ENG-mixer sending 2 tracks directly to the camera. Feel that 4-track DAT is stable and sturdy, but way too expensive.
My thoughts about this is a MacBook (not purchased yet!) and a Metric Halo I/O 2882 firewire interface (yes, I got this one!). Recording software could actually be anything - this is just for raw recording - no editing/mixing/plugs. Recording will be done in 24-bit/48kHz mode. No more than 10 tracks simult. This seems to me to be a rugged setup, but I still got no TC reading option (?!?). Any tips? Is the MacBook sturdy enough to bring into cold and rainy weather, dusty fields and warm synny days?? Any experiences?

it too have been eyeing boomrecorder, or its more expensive and more feature / cluttered? competitor metacorder. you can dedicate a track for LTC timecode or if you are running with a camera that does not have TC, you can even run you Mac in free run TC and use it as a "slate" in front of the camera, as it displays numbers, scene, take, etc... it syncs by continuous LTC timecode feed, but if for any reason it loses sync, it will freerun until sync is regained.
for field recorders, however, do you need it portable, as in rigged onto a harness/bag, or is it going to be carted? AC powered or DC powered?
The MH 2882 and a MacBook/Pro would be inherently DC powered, and a viable solution. I personally strap everything up into a harness and wear it on my chest, so Apple does not have a computer with an appropriate form factor for me to run boomrecorder on. To bad, because that would solve all of my needs.
The next best things seems to be the Sound Devices 744t, which supports any standard 2.5" hard drive, flash card, and supports simultaneous recording to both formats for security. BWF, TC in and out, 4 drives, which is fine by me. in your case, you would have to mix several mics to tracks, and personally I would be more comfortable to track all mics to their own tracks for more flexible editing in post... also you'd have to bring some external gear to the mix since i think the sound devices only has 2 built in mic pres.
I wish that Apple would come out with something like the Sony UX1. only downside is that it does not have firewire, except on the optional dock, and it only runs XP, so no boomrecorder or metacorder. come on apple, don't make us wait anymore for a tablet or UMPC killer!

Similar Messages

MacBook for field-/location audiorecording (film & video)

Searching for tips about a recording setup for field/location use. My purpose is to record 4-5 wireless + 1-2 boom mikes in the field. The ability to timestamp files by incoming TC would be a strong plus. Also syncing to the cameras sync/blackburst videosignal.
Currently using a 4-channel ENG-mixer sending 2 tracks directly to the camera. Feel that 4-track DAT is stable and sturdy, but way too expensive.
My thoughts about this is a MacBook (not purchased yet!) and a Metric Halo I/O 2882 firewire interface (yes, I got this one!). Recording software could actually be anything - this is just for raw recording - no editing/mixing/plugs. Recording will be done in 24-bit/48kHz mode. No more than 10 tracks simult. This seems to me to be a rugged setup, but I still got no TC reading option (?!?). Any tips? Is the MacBook sturdy enough to bring into cold and rainy weather, dusty fields and warm synny days?? Any experiences?

it too have been eyeing boomrecorder, or its more expensive and more feature / cluttered? competitor metacorder. you can dedicate a track for LTC timecode or if you are running with a camera that does not have TC, you can even run you Mac in free run TC and use it as a "slate" in front of the camera, as it displays numbers, scene, take, etc... it syncs by continuous LTC timecode feed, but if for any reason it loses sync, it will freerun until sync is regained.
for field recorders, however, do you need it portable, as in rigged onto a harness/bag, or is it going to be carted? AC powered or DC powered?
The MH 2882 and a MacBook/Pro would be inherently DC powered, and a viable solution. I personally strap everything up into a harness and wear it on my chest, so Apple does not have a computer with an appropriate form factor for me to run boomrecorder on. To bad, because that would solve all of my needs.
The next best things seems to be the Sound Devices 744t, which supports any standard 2.5" hard drive, flash card, and supports simultaneous recording to both formats for security. BWF, TC in and out, 4 drives, which is fine by me. in your case, you would have to mix several mics to tracks, and personally I would be more comfortable to track all mics to their own tracks for more flexible editing in post... also you'd have to bring some external gear to the mix since i think the sound devices only has 2 built in mic pres.
I wish that Apple would come out with something like the Sony UX1. only downside is that it does not have firewire, except on the optional dock, and it only runs XP, so no boomrecorder or metacorder. come on apple, don't make us wait anymore for a tablet or UMPC killer!

Soundtrack Pro or Pro Tools LE 7 w/DV Toolkit, for Post for Film/Video???

Hi all,
I've recently been getting some post production work in the pipeline and wanted to get your opinion on a few changes in software I'm making for these upcoming gigs.
Up until now, I've mainly been using Logic Pro for almost all my work, but Logic is much more geared as a music creation tool, that I'm looking at other options that are a bit more geared for post production. I mainly do sound editing, mixing and voice over or dialog recording for independent film, and video projects.
I've been looking at Pro Tools LE 7 and Soundtrack Pro. Both seem to have the more flexible editing architecture I'm looking for in post work. It appears though that I need to purchase the DV toolkit to accomplish proper post production functionality in Pro Tools LE, while Soundtrack Pro seems to have everything built in to it.
What do you guys think? How has your experience been between the two programs? You opinions would be greatly appreciated!!

As someone who just tried to use Soundtrack Pro to post a film, I'd say go with Pro Tools. Soundtrack Pro will eventually be a great alternative to Pro Tools. There's no extra hardware requirement, it integrates well with FCP, and so forth. I like the built-in noise reduction tools, and will probably keep using them. However, in my case STP was way too unstable. It kept crashing when I was trying to save files, and in some cases it corrupted the files. This led to lots of heartbreak for me, and now I'm having to rebuild my audio in Pro Tools.
That said, Pro Tools is expensive. If I didn't have the money, I'd settle for using Soundtrack Pro or something like it - Vegas; Bias Inc.'s Deck. If you have the money, Pro Tools is an absolute standard, and you can't really go wrong with it.
Dual 2.0 Ghz G5 Mac OS X (10.4.4) 2 Gigs of RAM

New iMac 27 for Film/Video Post Production

Hi - I'm not sure if this is the proper place to ask this, but I'm looking for some advice. I edit with FCP7, migrating to FCPX, also using Adobe After Effects, Motion5 and DaVinci Resolve for color grading. Currently, as a secondary system in a home office, I have a MacPro 3.1(Early 2008) with 2x3GHz QuadCore, 26G RAM and Nvidia 120 and 285 to run DaVinci Resolve. I want to upgrade this system and, if possible shrink the foot print. Will a 27" iMac with i7 and enough RAM provide me with enough speed to edit/grade/composite/animate with 1920x1080 ProRes422HQ(and sometimes 2K) material? I'm more concerned with the ability to grade/composite higher resolution footage.
Thanks for any input/feedback.
Chris

Christopher,
Good idea to get a BluRay Burner. I have one. Some thing else to think about. The new 27" iMac has 2 Thunderboldt ports & 4 USB 3 ports. If the BlueRay burner is Firewire only, there is a firewire to thunderboldt
cable. You might like out and find one with a USB 3 port. Mine was FW 800 so that was not a problem.
Do research for the BluRay Burner, for what it, export outs with.
Good luck.

Iso, Shutter Speed, Aperture, White balance for music videos or film?

Hello everyone. I just started making music videos. I just want some tips or can someone direct me to a good guide for music videos. I know the basics of iso, shutter speed, and aperture already. I read some guides and so far I know I gotta put my shutter at 1/50 or if i'm recording something at high speed, i increase it. is it so? Also, I always put my aperture at the lowest. I have a Canon T2i and Canon lenses 50 f/1.8 and kit lens. I always put my aperture at the lowest 3.5(kit lens) or 1.8. The tricky part is the ISO. I don't know where to put my ISO. I know the lowest ISO is good but sometimes the video looks dark. Do I fix this in video editing programs? Like should I always stay at ISO 100? What about white balance? I use Final Cut 7.
Also, what about during the day and night? Indoors? etc I also have a cheap LED lights.

your questions are about the very basics of photography.
I would consider to buy a book, which explains photography 'from the ground' ("... for dummies.." not meant as an offence!)
in short:
a scenery offers a defined amount of light.
Your cameras 'film' aka sensor, needs a defined amount of light to deliver a picture.
So, on recoprding, you have to control the amount of light, and the controls are:
aperture - opened or closed
shutter - shorter or longer
speed (ISO) - higher or lower.
Imagine the light as a stream of tiny balls, coming from your scenery: a bigger hole = aperture lets more balls into the cam. A shorter shutter speed reduces the amount of balls. And a higher ISO catches more balls than a lower. ..
Understanding that, you realize that those parameters are crosswise-related: an open aperture + a shorter shutter speed results in the same amount of light on the sensor as a closed aperture and a longer shutter speed.
If the amount of light is still too much, lower the sensitivity = ISO.
If the amount of light is too little, open the aperture, or use a longer shutter speed or raise the sensitivity.
When you set one or two parameters in this equation, you have to adjust the other ones: Video-makers start with the shutter speed, usually set to 1/2 of frame-rate = 1/50 - 1/60 - why? Because it allows a nice looking 'smear' aka motion-blur aka 'film look'.
Now, with a given speed, you can conrtol teh amount of light for the sensor only by aparture; and when you reach limits, by setting ISO.
When you understood this BY PRACTICING, you're next step is the concept of 'shallow focus'/depth of field. And when you understood this BY PRACTICING, you'll will understand the need of Neutral Densitity Filters for movie-makers...
But first things first: buy a book; read your cam's amnual; practice the settings and watch carefully the different results, diff. settings result.
... and it's really just about basics - independently of your device and/or your software.
None of the things mentioned above can be done or 'fixed' in post... (basically...)
happy movie making!

Cover flow displays the same two pieces of artwork for all videos.

I've been adding a collection of tv series I have on DVD to iTunes 9.1.1, it all worked fine initially, I opened each video up of a series of tv programs and used the "Set Poster Frame" option to capture a frame of the program to use as the artwork for that program.
I normally have the programs sorted by what tv program they belong to, so Cover flow only displays the first episode of a series' artwork. I'm not sure why though but something I did yesterday appears to have caused cover flow to blow a fuse.
If I chose to sort by name before, cover flow would display all the artwork for each episode, and it showed all the different artworks correctly. Now though after some fiddling I did which I cannot seem to recount my steps back to, it only displays the same two pieces of artwork from two particular episodes for all the videos when it is sorted via name:
http://img257.imageshack.us/img257/3052/tvprogcoverflow.png
I've tried removing all the artwork, but there doesn't seem to be an option to delete the poster frame and the poster frame artwork doesn't show up under the artwork tab for the individual videos so I can't delete anything from there. If I select all the videos and then right click and get info, then select the artwork check box and click OK it seemingly deletes all the artwork... Then replaces it again with the exact same artwork!
Although cover flow shows each video has having the same artwork if I Get Info each video it clearly shows it having the correct artwork so why cover flow is messing around like this I don't know.
I've tried deleting the album artwork cache in the itunes folder, didn't work. I even tried deleting my entire itunes folder which I have separate from my library and the hidden prefs file in my actual library, but that didn't work either.
Interestingly enough, if I re-add all the videos they automatically get listed as films and go under the film tab. When looking at them under their cover flow correctly shows every episode with the right artwork:
http://img200.imageshack.us/img200/8234/filmcoverflow.png
As soon as I change the Get Info options tab from Film to TV program either for one video or all of them, then cover flow screws up again.
Any idea how to fix this annoyance?

The weird thing is, it worked before. I encoded all the videos previously and had them all listed and didn't encounter this problem, but I noticed I'd forgotten to decomb/detelecine the videos so I deleted everything and re-encoded it all. AFter filling the tags out and setting poster frames again I was thinking of making life easier by just pasting the same artwork for every episode, so I did, but didn't like the results so I deleted it again (I selected every video, used Get Info and pasted the artwork that way).
I think it was after this that the problem started to occur. In any case I've been through every episode and made sure the name, series, episode and episode id fields are all filled in with incremental values and they are. I even made sure the Sort Name field was filled in on every video. But this didn't work either.
So, thinking another restart was needed I deleted every video again. Re-encoded them all, again. Set the tags for every video and poster frame again. Finished it all off nicely, checked cover flow and was highly annoyed to find it was STILL showing the same two pieces of art work for every video as shown in that image I posted.
Ultimately, I wouldn't care so much that cover flow is screwing up like this as I always intended to sort by program anyway so it would only ever display one piece of artwork for an entire series of videos, however where-as when it was working it picked the artwork for the first episode of a series to display, its instead picking one of the latter episodes. I can't seem to find any way of choosing what artwork I want displayed.

Best settings for film based PAL to MPEG2?

There's a fair amount of useful information online regarding the best settings for film based NTSC footage export etc but I'm unable to find anything regarding the best Compressor settings for the export of MPEG2 from PAL video from a 25 frames per second film sourced master.
Can anybody help?

Okay, so after reading heaps of stuff on interlacing and progressive, my head is hurting. Since my 1080i50 Pal footage captures into Final cut interlaced and setting field dominance to NONE doesn't do much, I realise I need to de-interlace in an another application. Ken Stone has a great example of what to do in compressor though I dont have the current version (3) and am not sure how to reinterpret this for Compressor 2. I had a go without much luck. I am in the process of trying to use MPEG Streamclip to deinterlace and trying getting the right settings. Will see how that goes. I also have tried using JES deinterlacer but also wasnt sure about settings etc with this application either.
Which is the best to use and what settings should I set. I wish to use my footage for watching on our macs primarily and also from our mac server which is hooked up to our hdtv. I can then convert to other formats for iphones and web etc. But my main problem is this interlacing issue. I have a nice new HDV camera but it certainly isnt looking too much better atm than my old dv footage.
PLEASE help!

How to use iMovie for a video presentation

I have a short film in iMovie. After entering via Media select I was unable to get the film accepted by my beamer
using a HDMI cable. The beamer expects for S-Video or just Video (for which I have no connection).

Hi Shyam,
Have a look at this,
START-OF-SELECTION.
gd_file = p_infile.
CALL FUNCTION 'GUI_UPLOAD'
    EXPORTING
      filename                = gd_file
      has_field_separator     = 'X' "file is TAB delimited
    TABLES
      data_tab                = it_record
    EXCEPTIONS
      file_open_error         = 1
      file_read_error         = 2
      no_batch                = 3
      gui_refuse_filetransfer = 4
      invalid_type            = 5
      no_authority            = 6
      unknown_error           = 7
      bad_data_format         = 8
      header_not_allowed      = 9
      separator_not_allowed   = 10
      header_too_long         = 11
      unknown_dp_error        = 12
      access_denied           = 13
      dp_out_of_memory        = 14
      disk_full               = 15
      dp_timeout              = 16
      OTHERS                  = 17.
    IF sy-subrc NE 0.
      write: 'Error ', sy-subrc, 'returned from GUI_UPLOAD FM'.
      skip.
    endif.
Regards,
Sai

Macbook Pro struggling - Adding iMac for Photo/Video. Advice?

Hey everyone! I'm new around these parts.
Anyhow, I've been working as a photographer for some years now, and am just starting to dabble into film-making as well. In the past, I've used 6, then 12MP cameras. RAW files were roughly 25MB. Nothing too hard to deal with. Now, I have a Nikon D800. The RAW files from this beast are reaching 80MB. It's shooting uncompressed 4:2:2 1080p video. All of this computes to REALLY slow editing, and lots of lag. Especially with video.
I've really worked my 15" Macbook Pro to death, and I would like to add an iMac for my video and photo editing needs. Here are the current specs of my macbook:
2.0GHz Quad-core Intel Core i7
4GB 1333MHz DDR3 SDRAM - 2x2GB
500GB Serial ATA Drive @ 5400
8x Double-Layer SuperDrive
Here are the programs I frequent:
Adobe Photoshop CS5.5
Adobe Premiere Pro CS5.5
Adobe Audition CS5.5
Adobe After Effects CS5.5
Adobe Bridge CS5.5
Word 2007
Powerpoint 2007
Premiere and After Effects, as well as Audition at time, are generally open at the same time to take advantage of the dynamic link. So, my Macbook is seriously having trouble keeping up. It's taking me upwards of 45 seconds to render 30 frames of a single layer of video. That's just no good when you're working with a longer production. Rendering files has become something I have to do while I busy myself someplace else waiting for it to finish. It's become a serious issue.
So, knowing all that, what specs would you recommend for an iMac? A Mac Pro just isn't an option, financially, at this time. If you need to know any more information, I'd be happy to oblige.
Thanks so much in advance,
Mark

There's a difference of $20 between this 21":
2.7GHz Quad-Core Intel Core i5
8GB 1333MHz DDR3 SDRAM - 2x4GB
1TB Serial ATA Drive
AMD Radeon HD 6770M 512MB GDDR5
Apple Magic Mouse
Apple Keyboard with Numeric Keypad (English) & User's Guide
Apple Remote
And this 27":
2.8GHz Quad-Core Intel Core i7
8GB 1333MHz DDR3 SDRAM - 2x4GB
1TB Serial ATA Drive
AMD Radeon HD 6770M 512MB GDDR5
Apple Magic Mouse
Apple Keyboard with Numeric Keypad (English) & User's Guide
Apple Remote
So, not too much difference. Would you say the extra 0.1GHz will make enough difference to choose the 21" over the 27"? Sorry, I don't know much about terminology and specifics. That's why I come to you. I just know that the extra 6" will really come in handy for both my photo and video work.
Mark

First DSLR for filming

Hey everyone,
I am looking for a DSLR for filming purposes. I have been recently watching reviews and video footages to see which is the best for me. Obviously a 5d mark II or III would be the best choice but unfrtunately I cannot afford it.
I have also checked the 60D which looks amazing because of the lcd screen which is adjustable but it has lower image quality, the 6D which also has a full frame sensor as the 5D. But the 60D is cheaper.
Which one do you suggest?
Solved!
Go to Solution.

I've used the 5D Mark II, 5D Mark III, and T3i for professional productions. I've not used the 60D or 7D. But, to start out, you can't go wrong with the T3i or T5i. The video is more than acceptable, and most viewers can't really tell the difference between the 5D Mark II and the T5i, not to mention the 60D. Now, the 5D Mark III is in another category altogether! The 5D Mark III is by far the best for DSLR video, but it's a little pricey for your first camera.
I would acquire the T5i (don't remember the non-US model number) and some good lenses. You can spend the difference between the T5i and 60D or 7D on some good non-S lenses that you can use as you upgrade bodies in the future. Spend your money on lenses first, then bodies. Your lenses will serve you much longer than your bodies!
Once you know that a DSLR meets your shooting requirements (they're still-frame cameras first, and video cameras second), you can either sell your T5i or use it as a backup/second camera when you buy a 5D Mark III or other Canon DSLR. Keep in mind that there are major limitations with all DSLRs when it comes to video, and make sure you can live with those limitations.
The major benefit for video of the T5i is the fold-out LCD screen. You will be shooting from different angles (high or low), and you can adjust the screen to compose your shot. Otherwise, you'll need an external monitor, rig, or other relatively expensive gear to adequately compose your shots.
A previous poster mentioned the Panasonic GH3, and that is a great camera for video, but the product line is not as broad or deep as Canon's. I think your decision to say with the Canon product line is good. Good luck in your shooting!

Permissions for filming

Hi,
I filmed a short corporate production recently which included interviews from members of the local community.
It was queried wether I had written permission from each of the people I interviewed. I do not. I have never sought permission from those I film before, however, do I need to seek permissions to release the video? What about the Cafe's I filmed in?
Also, to complicate matters. I am still working F/T for the company I produced the video for (my video production company is still P/T, but will be my full time profession shortly). Am I able to use the video for my own promotion?
Thanks
Olly Lawer

Well, privacy laws vary by state, so you should definitely research your potential liability before shooting. Some states side more with the photographer, and others side more with the individual.
I've worked a lot with reality show producers in LA and I've never seen compensation of any kind pass hands with release forms. The standard releases that I've seen/used simply ask the signer to allow their likeness to be used in conjunction with this project. Maybe the money incentive isn't necessary because people just want to be on TV these days.
Reality shows also use signs that warn that you will be filmed (as Meg mentioned) by entering a premises that they've set up in, though separate releases are obtained for those who interact directly with the "cast".
I actually looked up the law for California once, years ago. As I recall, there IS a section in there that deals with people in public not having an "expectation of privacy". I believe it's only for people though, and not storefronts or property since you require a permit to film the hollywood sign or Grauman's Chinese Theatre. The "expectation of privacy" statute is still kinda murky because there are degrees to it. For example, a release is not required for a person who walks in the background of an interview you're shooting, but if you're shooting broll of a park and pan the camera to follow a person, even at a distance, you need to release them.
I think the fine distinctions in the law lead to policies of "paper everyone" just to CYA.
Andy

QM for Film Mfg. Industry

Dear All,
I want to know about Quality Management in Film Mfg. Industry / Paper Industry.
Please tell me, where i can get information for this.
I have a query in QM for Film Mfg. Industry.
The problem is:
Film production is in ROLLs. Base unit of measure is KG.
I want to segregate defective area inside the roll, while usage decision. area is in sq.meters
There is no extra field for this in standard transaction, as per my knowledge.
Please help.
my email id : [email protected]
GNK

I can't help you specifically with your question. But you might want to look at SAP's Mill products solutions. What you describe is very similar to what happens in the mills that produce things like carpet or rolled sheet metal. The carpet and metal are made in rolls measured in sq. ft. but very often managed and stored as EA. Defections are related to certain areas of the roll.
The following is from SAP's documentation on this solution, bolidng is mine.
Purpose
The SAP Mill Products component adds sector-specific functionality to an ERP system to satisfy the complex requirements of mill industries (e.g. metal, wood, paper, textiles, construction materials, and cable sectors).
These industry segments differ from others primarily in that the materials used have a large number of characteristics and variants. The materials in the segments listed above are also predominantly area-based (e.g. paper, textiles, plastic film) or length-based (e.g. cables, piping). Account must be taken of these material characteristics throughout the entire supply chain.
To cater for the particularities of these industry segments, SAP Mill Products features processes and functions that cover the entire supply-chain cycle from product design and configuration, through planning, order processing, capacity planning and production, to final delivery. Additional functions are available in costing and inventory management. SAP Mill Products are also integrated into Quality Management, Financial Accounting, and Controlling.
Here's the link:
http://help.sap.com/saphelp_dimp50/helpdata/EN/4e/1796374b088e5ce10000009b38f8cf/frameset.htm
Craig
Edited by: Craig Snyder on Mar 7, 2008 5:35 PM

Best export for flash video

I have completed an edit of a 7 minute teaser for a feature film and need to export it to be displayed online in a flash player. The footage is HD 1080i, 29.97fps and edited in the Animation coded. My experience with best exports for flash conversion is very limited so please bare with with.
1) Is it possible to export directly from FCP to a flash file? If yes, would that be a good idea, or should I use third party softwares for better results?
2) Which third party softwares are recommended for flash conversion? And what export compression should I use in FCP for best flash conversion results?
3) Any other tips and tricks to get the best quality for flash video display?
Any help would obviously be greatly appreciated. Thank you.

When I have quality HD video that I want to export for flash, I compress it with h.264 codec. Then, with the new version of Flash, you can swap out the .mp4 extension for .f4v and your good to go in Flash. Quality looks pretty good at a fraction of the file size.

Question for Film composer ( re bar )

Dears,
sometimes when you are working on a cue for film happen that your song start
(for ex.) at measure 250, because working on entire reel . My question is :
( I know other software are capable of..) Is possible to RE_BAR ?
In a few words is possible to transform ( example) measure Number 250 in measure Number 1 ?
Appreciate any suggestion. Thanks in advance
Antongiulio

ok if you have been given reels, you should have BITC (burnt in timecode - ie TC which shows up in your video) and you should make logics TC match. so if the first reel starts at 01:00:00:00 then you should make sure that as logic plays back the video its TC matchs.
if you try to cut time that would mean the smpte position of the first tempo (@ bar 1) would be a minus number, then logic will shift the tempo positions so that the first tempo is 0:00:00:00, meaning you will be out of sync with the video. if you started your project with 01:00:00:00 as your start of the first frame of the film, then you have a whole hour to play around with as your run up to the beginning of the film (of course you would never need as much as that but there you go).
i am assuming you are using digitized video and the movie as float. if you have used a capture device to digitize the video and the beginning of your QT movie is something like 00:59:52:12 for arguments sake, then you need to make your movie start line up with 01:00:00:00 at bar 1 in logic (which should also be set to have the first tempo at 01:00:00:00).
DO NOT use smpte offset, esp if you are not familiar with it. it will just create a lot of confusion. instead adjust the movie start on the QT movie you are using in logic to make the BITC match logics time code. once you have that set, you will never need to touch it again. you will be able to cut time, insert time and do whatever and the picture BITC and logics TC will always match.

Field order on DVD Video disk projects - cannot output ".VOB" with upper field first,,

Can anyone help ? - in Australia most DVD players (PAL) display the best video image in terms of picture quality and motion smoothness when the "VOB" files created on the DVD Video disk (for PAL), are Upper field first. I can only get "VOB" files with Lower field first from Premiere Elements 9.0.
I have spent many hours experimenting, and then 90 minutes talking to Adobe support who were very helpful - but unable to resolve the issue.
My Premiere Elements 9.0 has been updated to 9.0.1, but I am still unable to obtain VOB's with Upper field first. The resultant DVD's are not easy to watch.
(MPEG files can be created with Upper field first from the "Advanced" button - but there is no Advanced button on the Blu Ray/DVD option in the "Share" tab.)
Thanking you, Dave.

Hi Steve, Yes - the output VOB's are lower field first, this can be observed
as "fuzzy" picures when playing the resultant DVD on a DVD player - the
motion is slightly jerky as well making for a video that is rather hard to
watch for too long - like trying to read without glasses (if you need them).
The input files are 720x576 16:9 PAL - Upper field first.
I have verified that the output VOB's are lower field first, using other PC
based video players and viewing the "properties" of the file.
Also, after spending about 90 minutes on the phone to Adobe support, and
exhausting all possible variations of project settings with them - they
confirmed the VOB's are output as lower field first in PAL format and were
of the opinion that one could not output PAL Upper field first VOB's using
Premiere Elements 9.0/9.0.1.,
This is rather disappointing as from what I understand the Australian
standard is PAL Upper field first (720x576) 25fps. They suggested that I put
in a submission to the "Wish List", which I have done - no response yet.
Thanks, Dave.

Field-/locationrecording for film & video

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