-
Pro Res with 25p material can it be done?
I looked through the different easy setup options in Final Cut 7 yesteday, and could not find any kind of Pro Res setup mentioning 25p
I have some 25F material from my Canon XH A1 camcorder, that I would like to move to Color. I know the color space in HDV is very limited, but it is the material I have and I want to use it to learn how to use Color with the help from video tutorials. Pro Res should make color run more smooth according to the manual. Is it possible to capture to pro res 25 from the camcorder, or should I use the 25p basic HDV setting, that worked flawlessly in version 6 and the transcode to Pro Res if possible before moving it to Color?
Let the machine work for you. Not you for the machine
-
4 Replies
-
I see 1080p25 and 720p25. But is this because I have a capture device and software installed? Regardless, 50i and 25p both run at 25fps, if your footage is progressive, it’s progressive. Capture as 50i and it’s still 25p…because it was shot that way.
Capture as HDV, send to Color, render out as ProRes.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “Regardless, 50i and 25p both run at 25fps, if your footage is progressive, it’s progressive. Capture as 50i and it’s still 25p…because it was shot that way. “
Correct, but you will have to chnage the field dominace settings of all your clips in the browser to ‘None’ and then make sure you set up a ‘None’ field domiance timeline. Techincally, it’s 25psf (which is trasmitted 50i). You just have to tell FCP that this material is progressive.
Jeremy
-
Yes there’s no 25p monitoring setting on Blackmagic or Kona cards.
This is how I’ve understood this…
50i works fine for 25p. The field order is of no real consequence as there are no time shifted fields going from 25p to 50i. The frame is divided into two fields. Actually cards like Kona or BM don’t actually play back at 25 progressive. Because monitors can’t actually show 25 frames in a second. So these cards actually output psf. Which, to the monitor appears to be the same as 50i.
———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
[Neil Sadwelkar] “So these cards actually output psf. Which, to the monitor appears to be the same as 50i. “
This is technically spot on. To the monitor or SDI device, the 25p material is being transmitted in a 50i stream.
BUt what this doesn’t account for is interlaced renders. In FCP, there’s a big difference between rendering interlaced and rendering progressive. So if you want to keep the progressive look, you have to tell FCP that your footage has a field dominance of ‘none’ and then make sure your timeline has a field dominance of none. This will mean that all moves, dissolves, anything that is rendered will render progressively in the computer. At the point for layoff, it will be transmitted in a 50i stream, but the content is still progressive, or rather psf.
If you shoot PSF, you have to tell FCP that everything is progressive, otherwise you will get interlacing for everything that you render in FCP that involves a move.
Hope that makes sense.
Jeremy
Reply to this Discussion! Login or Sign Up