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Mark Spano

Member Since:
September 29th 2004
603 Posts
100 posts500 posts
Location:
NY
Making 5.1 Blu-rays & tearing out hair
by David Dean 3 weeks ago
Hi, everyone - for the past three days I've been trying to burn a 5.1 surround sound Blu-Ray. I think I'm doing the right things but it's not working at all. I'm starting by exporting a 6-track Quickt
Re: Making 5.1 Blu-rays & tearing out hair
by Mark Spano 4 days ago
I do it similarly to you, but not in the same order, and it works. Open Compressor 3.5.3 Clear any prompts or existing jobs Click the button that says "Add Surround Sound" Click each speaker icon and
Compressor Custom Templates
by Aaron Gentry 1 month ago
Hello, first, let me apologize if something on this topic is posted in another thread. I had a look, but didnt see anything. I am new here and I didnt see a Compressor forum, only "Compression techniq
Re: Compressor Custom Templates
by Mark Spano 3 weeks ago
If the folder isn't there it's because you haven't created any custom presets. Either make a preset, or just copy over your other folder.
Extreme Reach HD Delivery. How do YOU do it?
by Carlos Robles 4 weeks ago
So for a few years I have been delivering spots to Extreme Reach from After Effects that have been shot and edited in 29.97. I would then render them out of After Effects in ProRes with the interlace
Re: Extreme Reach HD Delivery. How do YOU do it?
by Mark Spano 3 weeks ago
If you're not rendering fields with proper pulldown, your nice looking 23.98 composition will look like garbage in 29.97. Set to render Interlaced, Upper Field First, with 2:3 pulldown (WWSSW). Then m
Closest value to flat volume?
by Carlos Robles 1 month ago
Does anyone know what the value closest to flat response is if using the audio outs from the FSI monitor I have it set to 20 right now. I have no other device to hook the output to to test this. Thank
Re: Closest value to flat volume?
by Mark Spano 3 weeks ago
Your question does not make sense unless there is context. The idea of 'volume' is merely a control to determine how loud something is. There's no such thing as 'flat' value to loudness of sound as it
24 fps footage in a 1080p/29.97 project
by Dan Brother 3 months ago
Hi. I'm editing a 1080p 29.97 project on a Media Composer (V6.5.2) and we received footage that was shot at 23.98 fps. They're MXF files shot to a card. I know in the past, mixing resolutions didn't w
Re: 24 fps footage in a 1080p/29.97 project
by Mark Spano 3 months ago
Shane, What is "proper pulldown" for 23.98p to 29.97p I know Avid can do proper 2:3 pulldown for 23.98p to 29.97i, but progressive to progressive offers less than optimal results in my view (a pattern
Uploading spots to Hulu- questions about their specs
by Lisa Olshanski 3 months ago
Hi All- I need to send some :30 spots to Hulu and their specs ask for ProRes, CBR 15-30Mbps. But I read in the Apple documentation that ProRes is VBR and you can't change the bitrate. Has anyone uploa
Re: Uploading spots to Hulu- questions about their specs
by Mark Spano 3 months ago
On that site, do yourself a favor and download the PDF (link on the upper right of the page) instead of looking at the badly formatted web page. The PDF says ProRes HQ preferred, and properly places a
Betacam SP 16:9 ??
by Mark Greenberg 4 months ago
I have a Sony beta sp tape that is labeled 16:9 letterboxed. when I ingest encode the content as a 16:9 digital file it is stretched horizontally when viewed in after effects or various media players.
Re: Betacam SP 16:9 ??
by Mark Spano 3 months ago
Beta SP is a 4x3 format. If the tape is labeled 16x9 letterboxed, this is a misnomer. It is likely that this tape was made from a 16x9 source, and if it is letterboxed, it should have been labeled 4x3
Stereo or Mono for radio production?
by Lara Van Meer 4 months ago
Hello everyone, I am preparing an interview for an internship in a Radio. I would like to know, when you record the voices for the trails or the skits, you record it in Mono, right And for the backgro
Re: Stereo or Mono for radio production?
by Mark Spano 4 months ago
For sources, think about what you're trying to capture. When you listen to a person speaking, you're generally isolating in on their voice, and hoping to hear that above any background noise or room n
Dolby E for QT file output
by Jeffrey Moorbeck 5 months ago
We received a program for air recently and it is file based. It is a QuickTime with a 5.1 surround mix. For air we need Dolby E encoding. I sent the audio to our ProTools person as they have a plug-in
Re: Dolby E for QT file output
by Mark Spano 5 months ago
Ah - glad it was an easy fix!
Dubbing digibeta to DVCPRO
by Eric Strand 5 months ago
Hello COW, Is it possible to dub a digibeta tape from a Sony DVW-A500 deck to a Panasonic AJ-HD1400 I directly connected the SDI ports and the Panasonic wasn't seeing the Sony deck. I'm assuming you c
Re: Dubbing digibeta to DVCPRO
by Mark Spano 5 months ago
This is correct. SD-SDI and HD-SDI are totally different signals. You need a device that can up-convert the SD-SDI signal to an HD-SDI signal. Upconverters can be relatively cheap these days. A good c
Problems Cloning Dolby E
by John Christie 5 months ago
Hi folks I posted this on the HD High End forum, but not much traffic over there . . . Have a problem cloning Dolby E from SR to HDcam We output to a Sony SR with Dolby E and it plays back fine throug
Re: Problems Cloning Dolby E
by Mark Spano 5 months ago
only other thing I can think of is some sort of timing issue. Make sure both decks are receiving the same reference signal and that it is selected (i.e. Servo Ref = EXT Ext Ref = SD). Also, the system
Window Dub Project
by Matt Kerstein 6 months ago
I have a client who wants to view all their raw footage. It was digitized in 2007 from HDCAM 1080i to 10 Bit uncomp.. Now they want go back and be able to view all 12hrs of raw with a a Timecode windo
Re: Window Dub Project
by Mark Spano 6 months ago
If you can have both sides use a QuickTime Player to view your files, then you could use something like QT Sync to insert a timecode "text" track into the file, which takes zero seconds to do since it
Adding timecode on an audio track in a 5D mark iii
by Jeff Mack 7 months ago
I cant seem to find info on the workflow for sending timecode from my field mixer to aan audio track on the 5D iii and then how you bring that clip into say FCP and utilize the timecode. It's probably
Re: Adding timecode on an audio track in a 5D mark iii
by Mark Spano 6 months ago
FYI - FCP has no way of using audio LTC in your clips without some third party tool. However, this functionality is built in to Avid Media Composer, in the form of the Read Audio Timecode command. Ext
Pro Tools files to Avid
by sandy shapiro 7 months ago
Hi, Anyone know how to export a mixed sequence to Avid without bouncing down Our files are offline once we bring them into Avid. We want to make cuts and additions to the audio w o using the bounce. T
Re: Pro Tools files to Avid
by Mark Spano 7 months ago
If you can consolidate your audio edit to fewer than 24 tracks, you can export an AAF to pass to the edit. The editor can load your AAF, make changes, then export an AAF back to you. From there, you c
Exception:DISK FILE ALREADY EXISTS, filename:
by Rachel Shore 8 months ago
Hi All, I'm assisting on a show with multiple projects. One of our bays is having difficulty opening some of the projects. It seems when we try opening specific projects, we get this error: Exception:
Re: Exception:DISK FILE ALREADY EXISTS, filename:
by Mark Spano 8 months ago
That usually does it for me. Can't think of anything else to fix it. Next step would be to create a new project on that space and copy the bins over to the new project.
Quicktime Police
by Matthew Skeris 8 months ago
My system is running v5.5.3, for the time being. I want to install and run demo software on the same system, but it requires a more recent Quicktime version than the one officially required in the Avi
Re: Quicktime Police
by Mark Spano 8 months ago
Why not just clone your boot drive and do the demo install QT update on the clone This will save you tons of potential grief.
Quickest way to "extend" edit
by Adam White 8 months ago
Gradually making the move away from FCP7 to Avid. After some initial frustrations and plenty of "WTF" moments - which still crop up - I am starting to get into the Media Composer groove and for certai
Re: Quickest way to "extend" edit
by Mark Spano 8 months ago
Like you, I use this all the time, and the workflow in MC is very easy to adopt. I mapped the Extend function to the N key (as it seems a logical place for it and I don't think there was anything ther
Frame Accurate capture using Format converted video via the FC output SRW5500 and TC
by jay agoglia 9 months ago
Hi All, I would like to ask the experts about the SRW5500 TC options when using the SRW to convert the format of video. The tape format (in this case) is 23.98 psf 1080i The FC format is set to 59.94
Re: Frame Accurate capture using Format converted video via the FC output SRW5500 and TC
by Mark Spano 9 months ago
jay agoglia "1) This is assuming I am converting to SD. If I am converting to 1080i 29.97 or 720P 59.94 than what is the secondary reference signal. what changes from the above guidelines " Bi-level
File: pulldown PDF
by Mark Spano 9 months ago
pdf file pulldown description http: f1.creativecow.net 6356 pulldown-pdf
Clocked and unclocked broadcast delivery
by Andrew Crosby 9 months ago
I just got a delivery spec question from an acquaintance, and this one has me stumped. It's calling for one clocked and one unclocked version. Anyone know what that means Timecode burn in Not sure why
Re: Clocked and unclocked broadcast delivery
by Mark Spano 9 months ago
Clocked usually means "to the clock" or show length to exact time. Usually it means laid out so that when played, each show segment is an exact clock time and they add up (usually to something like 22
BT-LH2170 for color correction?
by Rob Nimmo 9 months ago
Hi, I am looking for a cheap but good monitor for doing some basic color correction in Resolve. I was wondering if this Panasonic monitor is a good option: http: www.panasonic.com business provideo BT
Re: BT-LH2170 for color correction?
by Mark Spano 9 months ago
I have a Panasonic BT and I think it's a bit overpriced. I prefer grading on the FSI monitors, which have a lot more features and nicer panels.
exporting a 23.98PsF QT file from FCP
by Michael edmunds 9 months ago
So I know this is not new information and I have searched this forum with no luck so I'm hoping to find out by directly asking. I am delivering a finished QT with the following specs "Apple ProRes HQ
Re: exporting a 23.98PsF QT file from FCP
by Mark Spano 9 months ago
What Shane says is correct, and you should follow his instructions. To elaborate on the other part of your question: there is no such thing as PsF in file formats. PsF is only created upon output over
Export OMF from FCP 7 Question
by Jeffrey Cornell 9 months ago
So I'm preparing to export some OMF's for a mix this week, but I'm fairly new to this part of post and when I export the sequence from FCP 7, my OMF file exports as a plain text file. Now, forgive me
Re: Export OMF from FCP 7 Question
by Mark Spano 9 months ago
Do yourself a favor immediately and get Automatic Duck Pro Export. This solves a nice bug that was never fixed in FCP7 where 23.98 OMF exports show up as 24.0 in Pro Tools and lots of subsequent drift
AC3 Conversion outside of Compressor
by John Morehead 10 months ago
Hello everyone, First time poster on CC. I apologize if the problem I will post has already been addressed. I couldn't find anything in the archive. I work at a planetarium and I am trying to convert
Re: AC3 Conversion outside of Compressor
by Mark Spano 10 months ago
Are you sure you can't install FCS I've seen many people on the forums who are using Mountain Lion and FCS3. The alternative would be just installing Compressor (v4 from the App Store). It's $50 and w
Audio Tech Specs for Delivery of TV Spot
by Sarah Johnson 10 months ago
Hi, I have a question regarding audio tech specs for delivery of a TV commercial. In the paperwork that I've been given, it lists a bunch of specs, most of which I'm used to seeing, except it says...
Re: Audio Tech Specs for Delivery of TV Spot
by Mark Spano 10 months ago
ATSC A 85 is a guideline for using loudness measurement for audio as opposed to the traditional peak RMS. The -24 + - 2 number means that a loudness measurement of -24 LKFS should be the target. The p
Monitor for Control Room/Edit Suite
by Larry Zapotocky 10 months ago
We are upgrading our studio and need a temporary SDI monitor for Multiview from a Ross switcher (when the control room is finished we will be putting in a larger monitor). This monitor will eventually
Re: Monitor for Control Room/Edit Suite
by Mark Spano 10 months ago
happy here with FSI - great monitors, price, and features.
Animatte question
by Pepijn Klijs 10 months ago
Hi, I hope I can explain this well, but here we go: I want to cut out mask somebody's head with an oval shape and place it on top of the picture (background). I do this by using the animatte effect. I
Re: Animatte question
by Mark Spano 10 months ago
Yeah, you're right. I just tried for a half hour to do it and got equally stuck. I think there are some effects (BCC, Sapphire ) that handle this more elegantly, but for something so seemingly simple,
Fixing Incorrect standards conversion
by Jack Bonnett 10 months ago
I've been asking quite a lot of standards conversion questions recently and I fear I know the answer to this one already but I'll ask it anyway. We have been sent a load of files from a supplier to ed
Re: Fixing Incorrect standards conversion
by Mark Spano 10 months ago
Reverse telecine only works with proper 2:3 pulldown. It will not work at all for what you are trying to do, which is to remove every fifth frame. For that, you need to do it manually, as there is no
Mapping Audio on input HD CAM SR and D5
by jay agoglia 12 months ago
To the Cow experts, I need to know if there is a way to map audio channels on input (via sdi) onto an SR tape being recorded. I have a D5 and an HD CAM SR The goal is to take channels 7 and 8 from the
Re: Mapping Audio on input HD CAM SR and D5
by Mark Spano 11 months ago
Input mapping over SDI isn't going to work, but if you have access to the machines, it's rather simple to achieve what you want. Send your SDI signal to the D5, making sure the system is set correctly
29.97 to 23.98
by Stephen Franciosa 1 year ago
I have a 29.97 clip which was originally shot at 23.98. Every 5 frames looks something like this: A.B.C.D.D. Meaning I have a duplicate 4th frame every 5th frame to compensate. Im trying to convert it
Re: 29.97 to 23.98
by Mark Spano 12 months ago
Actually, no compressor program will get you back there. But it isn't as hard as you think. If the cadence is like you say (A B C D D A B C D D) and it is consistent throughout, here's what I have don
Kona 3G Capture Desktop
by Michael Bekkers 1 year ago
So, We're working on this schoolproject and we're running into this issue. The card we have is the Kona 3G Capture card. We have installed the card into a Mac Pro and it works fine with the RGB output
Re: Kona 3G Capture Desktop
by Mark Spano 1 year ago
Michael Bekkers "we want to output our desktop to the RGB cables. We don't know if it is possible, but we do suppose it is." Yes, it is. What you want is to install the drivers for the KONA 3G but no
Discrete L&R Mono vs Stereo
by Scott Smith 1 year ago
I have a level of confusion on this, when it is something I thought was simple and understood. What is the difference between two discrete "mono" channels of left and right vs stereo I recently sent a
Re: Discrete L&R Mono vs Stereo
by Mark Spano 1 year ago
yes, guessing that your friendly post house is using FCP to lay off. FCP will take what is known as 'discrete' or 'mono' channels in a QuickTime source file and automatically pan them all center in a
Blu-Ray with CBR through Compressor ?
by Thomas Casque 1 year ago
Hello everybody, I'm new here - so please don't hurt me ;-) I have a film that I need to bring on a Blu-Ray for a festival-screening. The infosheet from the festival says, that the Blu-Ray must have a
Re: Blu-Ray with CBR through Compressor ?
by Mark Spano 1 year ago
Rafael Amador "Could be done in FC, but that will means to lose one generation (rendering), when you just need to read the Prores444 file as Upper instead of Progressive." No generation loss, since t
Theatrical screening 7d footage (apple prores)
by Devon Armstrong 1 year ago
Hey folks! Thanks in advance for your guidance on this. I'm a little out of my element, so forgive me if I get some of the terms wrong as I know nothing about projection. I've got the opportunity to s
Re: Theatrical screening 7d footage (apple prores)
by Mark Spano 1 year ago
Devon Armstrong "Right now, I'm considering turning the whole project into a giant Prores file." I think you have the right idea. A ProRes MOV (if the projector can play it) will be the best quality
+1
No Sound In Source Monitor
by Sean Schmolz 1 year ago
Hi guys, So I've got a very strange issue. When I play anything in the source monitor of Avid the audio bars are moving but nothing is coming out of the speakers. This is the same when playing the cal
Re: No Sound In Source Monitor
by Mark Spano 1 year ago
Is it possible the source has audio on tracks that aren't A1+2 If so, choosing Stereo on your audio mixer's output instead of Direct Out will route any non A1+2 audio out analog outputs 1+2.
Having drift in video with playback with Aja Kona Lhe card in FCP7
by James Vincent 1 year ago
reposting this in this section see if anyone here can help Ok here is the dealio. MacPro's with Aja Kona Lhe cards running FCP 7. Aja Cards are up to date to 9.1 software. So whatever settings in the
Re: Having drift in video with playback with Aja Kona Lhe card in FCP7
by Mark Spano 1 year ago
If your throughput is compromised, audio will gradually lose sync with video. So much so that you can hit stop and play again and they will be in sync again and slowly drift out further and further. S
Commercials are blown out
by Pete Lewis 1 year ago
I produce a good many local television commercials. On my monitor, televisions, and computers, they look fine. I check my waveform monitor and it's good (I try to keep the whites a good bit under 100
Re: Commercials are blown out
by Mark Spano 1 year ago
Check your chroma levels too, make sure they're not too far out of gamut. I like a vectorscope for that, and checkdown on an RGB parade view to catch anything that's above 700mV or below 0mV. Other th
5.1 export from FCP7???
by Alex Petrovitch 1 year ago
Hello forum, I have a 5.1 mix for a FCP7 project. I'd like to get it out of FCP7 and onto a bluray. Thoughts Also, what should the settings be on the sequence -3db across all 6 tracks 0db for L and R
Re: 5.1 export from FCP7???
by Mark Spano 1 year ago
Hi Alex, Alex Petrovitch "I have a 5.1 mix for a FCP7 project." Cool. I assume that by this you mean you have maybe six WAV files, each representing a stem (L, R, C, LFE, Ls, Rs). Alex Petrovitch "I'd
HD compression with compressor
by Matt Torti 1 year ago
What are the best setting to use with compressor to create an HD compression to use with DVD Studio Pro I'm looking to create a DVD with 1920 x 1080 video. I'm under the impression that DVD studio req
Re: HD compression with compressor
by Mark Spano 1 year ago
Also, consider that search essentially fruitless, because as we all know, the HD-DVD format is dead. The method described in that link requires an HD-DVD player, and pretty much no one you know has on
Audio Compression for Client's Phone Voice Mail System
by Dave George 1 year ago
Got an odd request from a client to export one of my videos as an audio file so they can upload to their voice mail system. They've asked that it be: wav format CCITT-mulaw, 8Khz, 8bit Mono Apple Comp
Re: Audio Compression for Client's Phone Voice Mail System
by Mark Spano 1 year ago
Barba Batch does it. I've done prompts encoding for some airline voice message systems and it's the same spec. BarbaBatch
Insert edit 23.98 TC jumps 15 minutes ahead
by ian hutchinson 1 year ago
I am trying to insert edit a section of a 23.98 PsF sequence to a 23.98 PsF HD-CAM SR from AVID 6.5 and when I start the Digital Cut tool the TC its looking for jumps 15 minutes ahead. I have tried re
Re: Insert edit 23.98 TC jumps 15 minutes ahead
by Mark Spano 1 year ago
If you use Mark In Time in the Digital Cut, then you can set an in-point in your sequence, an out-point in your sequence, and type the timecode of the in-point on tape into the 'in' of the Digital Cut
Converting a clip with dual AAC stereo tracks and maintaining two separate stereo tracks
by Max Newman-Plotnick 1 year ago
Hello, I have a documentary client who has a set of Skype interviews they would like to use in a piece. They were captured using a basic video capture program and each clip has either 2 mono tracks or
Re: Converting a clip with dual AAC stereo tracks and maintaining two separate stereo tracks
by Mark Spano 1 year ago
Here's an idea but haven't tried it so I don't know if it will work. Try opening the original in QuickTime Pro. Choose Show Movie Properties and highlight the audio tracks. From there, you can assign
HDSDI converter
by Jon Munford 1 year ago
Hey Guys, A friend and I are going to start doing very part time live video production. We are planning on getting two Canon HF G20's. I know they do not have HDSDI out which would be optimal but our
Re: HDSDI converter
by Mark Spano 1 year ago
Jon Munford "I know that I could do HDMI out to HDSDI. I could also do component out to HDSDI. So my question is which is the more "professional" way to do it, and which will yield better results " I
FTP changes format ...
by Stuart McAlister 1 year ago
Hi, I have a mate in Africa (somewhere out of the loop) and he has the strangest problem. Everything he has shot edited and delivered was in PAL. He has NO NTSC equipment with him. He FTP'd the clip y
Re: FTP changes format ...
by Mark Spano 1 year ago
FYI, if these are the specs, there is NOTHING that FTP transfer can do to convert PAL to NTSC. I would say it's the other end user's problem.
Broadcast Monitor to Review interlaced Video Material
by Martin Fritz 1 year ago
We are recently producing For Austrian Television and we are looking for a good preview monitor solution for color grading and checking the interlaced files and frame rate for tube monitors and hd mon
Re: Broadcast Monitor to Review interlaced Video Material
by Mark Spano 1 year ago
I have FSI monitors here at the shop and they do the trick. Affordable and high quality to see interlace field order issues and reproduce very well for grading.
SRW-5500 HD-Cam captioning woes
by Jon Regul 1 year ago
Hello everyone (first post here)! We have a Sony SRW-5500 in our facility permanently, and it records and plays back captioning on HD-Cams perfectly with no issues whatsoever. However, we have recentl
Re: SRW-5500 HD-Cam captioning woes
by Mark Spano 1 year ago
Check menu item 720 (HD OUT BLANK). If this is set to blank instead of through, it may block captioning from being carried through on the SDI.
WHAT IS A HARDWARE CONVERSION? 23.98 TIMELINE to 29.97
by Michael Pinho 1 year ago
Hey All, This is my first post -- so take it easy on me. Also, feel free to let me know if I am posting under the wrong forum. Basically, after some research my main question is what exactly is a hard
Re: WHAT IS A HARDWARE CONVERSION? 23.98 TIMELINE to 29.97
by Mark Spano 1 year ago
The benefits to hardware conversion are usually just time and ease of setup. Hardware conversion is usually a real-time process and easy to configure, whereas Compressor will take much longer to do th


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