DVCPro HD nightmare… 24,60,25

[Rainer Wirth]

There is no little trouble

capture again with the original sources

Rainer

[Michael Sacci]

[Pradip Patil] “ertainly affected my confidence with FCP”
Why are you blaming FCP, sounds like this is all operator errors.

[Pradip Patil] “Upon investigating further I found out that someone has captured all the rushes as DVCPro HD 60p easy setup and then exported them using quicktimeplayer as 25 fps file with DVCPRO 720P50 codec. “
How was this shot, is it 25p footage or 24p?

If everything is shoot 24p, you should be editing it as 24p, but go back and capture it as 24p not 60p. Then convert the final edit to 25p via a speed change in compressor (audio will need to be done in an audio program so the pitch doesn’t change)

if most of it was shoot 25p but captured incorrectly, go back and capture it correctly. For the 24p footage, capture correctly and change the speed in compressor before bringing it into FCP.

There is no easy solution for cleaning up a mess. Going back to square one is normally the fast way and it will give you the best quality.

QuickTime Pro is the worst thing to use to convert framerates.

[Pradip Patil]

But what happens once my 24P clip is on 25 fps based timeline? also won’t there be sync problems as suddenly all the clips have changed from 25 to 24?

This is a 70 min long edit.

[David Roth weiss]

[Pradip Patil] “ad a very unnerving day with DVCPRO and it has certainly affected my confidence with FCP.”

Pradip,

From the scenario you’ve explained, I can certainly understand why your confidence in the people you work with might be shaken, but suggesting that any of the horrendous mistakes made in this case are in any way attributable to FCP is just plain wrong.

[Pradip Patil] “What should be the best strategy to achieve this with as little trouble as possible.”

Rainer’s idea sounds like a good plan. Then, try to surround yourself with people who have some idea what they’re doing, otherwise you will continue to have troubles exactly like this.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[Pradip Patil]

I never meant to blame the FCP, I was blaming myself for not being able to handle the things, but It was so hectic and confusing.

[David Roth weiss]

[Pradip Patil] “This is a 70 min long edit.”

There’s no shortcut when fixing huge mistakes such as the ones you’ve mentioned above. Mistakes that were made at the beginning and carried forth all the way through the offline will clearly take some time to rectify.

In a worst case scenario you may wind up having to eyeball every single cut in the project. And, at the very least, you may have to introduce pull-up or pull-down in the audio track to achieve to sync.

Since you have so many issues, it’s not going to be easy to arrive at a quick solution that will fix them all in one smooth way. More important than anything for you will be planning exactly how you’re going to get the most out of what has been done already. Before you do anything else, you need to establish a single frame rate for every element in the project and you need to somehow transcode or conform all elements to that frame rate. From there you’ll need to figure out how the best way to recreate your timeline using the new elements at the proper frame rate.

BTW, if you know someone with the latest version of Avid, and they know how to use it, you might consider doing all your fixes on that system. The newest Avid software does make this entire process a lot easier.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.

[David Roth weiss]

[Pradip Patil] “I was blaming myself for not being able to handle the things, “

There isn’t anyone in the world who wouldn’t have a tough time trying to reconcile a 70-min project offlined improperly with both mismatching audio and video frame rates throughout.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

EPK Colorist – UP IN THE AIR – nominated for six academy awards

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.