1080 60p into FCP7

[Jeremy Garchow]

[Mick Diener] “Thanks Randy. The thing is I’m wanting to shoot in 60p because progressive has superior resolution (full progressive frame height) compared to interlaced (60i).”

But 1080p60 is a hard format to edit and deliver. Why not shoot 1080p30?

As far as the moire, I’d double check to make sure both your media and timeline are tagged as progressive.

Jeremy

[Mick Diener]

Thanks Jeremy. See below.

“But 1080p60 is a hard format to edit and deliver. Why not shoot 1080p30?”

I agree…see my original posting. The problem is the Panasonic Tm900 (like the TM700) doesn’t shoot 30p. Only 60i and 60p. But I am hoping there is a way to convert the 60p clips to 30p without the introduction of moire noise.

“As far as the moire, I’d double check to make sure both your media and timeline are tagged as progressive.”

I double-checked both media and sequence settings — and yes, the media clip is definitely progressive and the timeline sequence is set to 30p.

I saw a reference on another forum here that mentions these 60p Panasonics use “intra-frame compression” to fit the 60p data into the pipe. I wonder if that could explain moire problems occurring when every other frame is dropped to convert 60p to 30p?

[Jeremy Garchow]

[Mick Diener] “and yes, the media clip is definitely progressive and the timeline sequence is set to 30p.”

Is the field dom set to none? Are you watching this on an external broadcast monitor through a capture device? If not, then you aren’t seeing the real picture.

[Mick Diener] “I saw a reference on another forum here that mentions these 60p Panasonics use “intra-frame compression” to fit the 60p data into the pipe. I wonder if that could explain moire problems occurring when every other frame is dropped to convert 60p to 30p?”

I’m not entirely sure how that camera works as I have never worked with it or investigated but there’s no doubt there’s probably some juju going on. It would be interframe and not intraframe as it’s AVCHD.

I still wouldn’t shoot 60p to deliver 30p. Why throw out half your frames and create unnatural motion?

If you insist on shooting 1080p60, I’d use Compressor to make the files.

[Rafael Amador]

Hi Mick,

[Mick Diener] ” I started by dropping these 60p files into a 30p sequence on FCP to see what would happen. The result is the expected increase in motion stutter (which I’m totally fine with) but ALSO a troubling and puzzling increase in horizontal and vertical moire.”
What do you mean “horizontal and vertical moire”?
Moire happens where there are patterns of fine detail in the Y’ channel (those Y’ high frequencies are interpreted as Chroma producing that annoying ever-changing-color on shirts with thin stripes or dots).

FC should be just dropping half of the frames. You lose half of the “temporal resolution”, but the spatial resolution (pixels size) remains.
Anyway, working with a non-standard format (yet for FC) and with applications like ClipWrap, is difficult to be sure about how the Field Order has been managed.

This little script may help you:
https://www.google.es/searchclient=safari&rls=en&q=Rewrap2M4V&ie=UTF8&oe=UTF8&redir_esc=&ei=GPmZTZzvNI-WhQeJiImCCQ

You should try as well MPGStreamclip to go Prores 1080p60 to p30.

rafael

http://www.nagavideo.com

[Inanc Tekguc]

I have a PAL version of TM700.
It is possible to shoot with 1080p24. You just need to choose the Cine Mode. It reduces some of the capabilities of the camera, like the intelligent zoom, but still the quality is very good.
I don’t know how many fps Cine Mode will give you on NTSC. But it solves your problem of 60i not having the optimum height of pixels.

Once you shoot in 24p, FCP7 recognizes the files on the SD card when plugged to my MacBook Pro i7. You can log and transfer (not log and capture) and even give sequence number to your videos to keep the names unique, because TM700 resets the sequence of .mts files everytime you format the card. I noticed that FCP also uses ProRes 422 when importing these files. So they are not native AVCHD, which is fine as editing is said to be easier on ProRes (except the 8-10 times multiplied file sizes).

Problem is, if you transfer the .mts files to your computer then try to log and transfer, FCP does not recognize the .mts files. I could not solve this issue. Any ideas?

So far for my project, I had started with shoowing in 1080p50. I converted those using ClipWrap2.2 with ProRes 422 Proxy (any other ProRes made the files too big and I quickly ran out of 500GB space).

When I bring them onto FCP by “import” and drop them on a sequence to set the sequence settings to fit the footage, it seems to give me 50p on the sequence. Not sure though. How to check?
Then I can export using 720p to ensure others can view it in different places. The original 1080p50 .mts files stay in my archive as high quality recordings which can be used in a year or two on more qualified versions of FCP.

Yet, I hear what Rafael says, so now, I started shooting with Cine Mode to avoid above step and also to use less memory space.

My question would be how to combine earlier shots that have been shot in 1080p50 and newer ones on 1080p24, on the same sequence?

Also, would it be better to shoot on 50i and then convert this to 24p or 30p? Is that possible at all? Or is my Cine Mode approach best choice I have?

[Peter Van dijk]

Finally, a solution!

Panasonic released september 5th 2011 a AVCCAM Importer for Mac.
https://eww.pass.panasonic.co.jp/pro-av/support/desk/e/avc_download.htm#avccamip

I can play my 1080/50p recorded clips now in Quicktime, and so can do everything that you want with it.
Drag into FCP bin, cut directly with the MTS, or even better (for me) open in MPEG Streamclip, export selections to ProRes 422 HQ , open that in Cinema, conform to 25fps!