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first really commercial/corporate job with FCPX
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[Oliver Peters] “It’s a quick-turnaround gig, which typically involves getting footage late and editing overnight (if needed) to have a piece ready for the next morning. Something like Teranex is never an option.”
Oliver,
I was addressing Brett’s general statements, not Jacob’s (slightly vague) specifics.
[Bret Williams] “X is superb at mixing frame rates. 7 is a dog.”
Franz.
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[Franz Bieberkopf] “I was addressing Brett’s general statements, not Jacob’s (slightly vague) specifics.”
Understood. I agree with your assessment. My comment was addressing the original issue.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Charlie Austin] ”
Why do you believe that?”Because that level of incompetence can easily find a way to muck up anything in any NLE.
However, I didn’t know we were comparing 7 to X, so that is a difference. He could have setup his timeline as 60i because he didn’t know any better.
But even if the sequence is correct in X, all it takes is a Send to Compressor moment and rendering out as 60i, because the editor doesn’t know the difference, to add interlacing.
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[Bret Williams] “. It plays and looks like the 24p it was shot at.”
When you add 3:2 pulldown to 24p in a 60i container, it only marginally looks like 24p, because you still introduce interlacing.
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[Gary Huff] “When you add 3:2 pulldown to 24p in a 60i container, it only marginally looks like 24p, because you still introduce interlacing.”
Brett,
This is particularly evident if there are any single frame edits in the 24p material.
The shift in the look from 24p to 60i is also generally accepted since we are so accustomed to seeing it (via decades of film to NTSC viewing).
Franz.
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[Franz Bieberkopf] “(X may be better at 24 to 60i interlace cadence, I can’t speak to that, but 30p to 23.98p is about equal to what you get in 7.)”
This is why 1080p59.94 will be a major help in post (whenever it gets adopted for broadcast).
29.97p and 23.98p will fit and playback without having to make new pixels.
720p59.94 is great at this.
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[Gary Huff] “Because that level of incompetence can easily find a way to muck up anything in any NLE.”
Agree. As i think we’ve determined, the software probably wasn’t he issue… it’s a wetware problem. 🙂
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~ My FCPX Babbling blog ~
~”It is a poor craftsman who blames his tools.”~
~”The function you just attempted is not yet implemented”~ -
[Franz Bieberkopf] “I lament the state of the language.”
These are cool website, for programmers making an NLE and not so much for editors, but they are still pretty cool:
https://lurkertech.com/lg/video-systems/
https://lurkertech.com/lg/fields/
I think this gives us a glimpse of what conform means and why programmers use that term. I found “interleaving” to be particularly interesting, where video (YUV) and graphics (RGB) mingle for programmers.
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[Jeremy Garchow] “This is why 1080p59.94 will be a major help in post (whenever it gets adopted for broadcast)”
Jeremy,
Yes, but pretty sure it still isn’t part of DCI spec.
Franz.
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I really hope that they shot both 24p and 60p so the 60p could be used for slow motion.
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