Aaron Neitz
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After Effects Coin
Forum Replies Created
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DV50 is a final cut native codec, nothing to do with BM or AJA. Totally interchangeable.
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Just use the Capture Preset: Blackmagic HTDV 1080p/23.98 – DVCPRO-HD. Works great, looks really good.
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You might want to give Compressor a go, exporting straight to Compressor from timeline. I’ve done this with hour long HD timelines and no problem. QT conversion might be running into memory leaks or something.
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The thing to do with limited experience in Efx and a low to no budget… hire your editor now, hopefully they know some After Effects or can recommend someone to you. Involve them now before you shoot so that they can guide you into what’s going to look best given the resources. There are so many approaches to FX, you need to play to the strengths of the people who are going to be stuck trying to make it happen…. and if you involve them from the beginning, they’ll probably be willing to work for less $ than they would otherwise, ya know?
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Since you’re only finishing to video – I would recommend getting your 16mm transferred to regular HDCAM, 1080p/23.98. You can rent a player-only HDCAM for cheap, load everything via SDI into your Kona card and have it digitize as 1080p/23.98 DVCPRO-HD. Won’t take up too much room, you can edit on FW drives, you’ll be editing with native 24fps frames, and the Kona will output a live 29.97 fps NTSC signal for you if you want to use a NTSC monitor to cut with.
easy and rock solid. I personally don’t like DVCPRO-HD tapes, will all their 30fps and flagged frames, etc… and so prefer a real 23.98fps tape.
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Thanks a million JC! Ends up our mix house house HAS done this all before, so hopefully it will go swimmingly. We’re taking our first steps out of commercials, so it’s been a learning curve.
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And that’s the last we heard from CaptainMench… verily his G5 exploded and is in smoking ruins after installing 10.4.9….
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Ah… well, you see… NTSC is 30 fps. Straight up. No getting around it. You try to play a 23.98 sequence out of your Kona, or Blackmagic, or whatever, it’s going to add 3:2 pulldown on the fly to make those 30fps.
No way around it. Putting 24fps media in a 30fps timeline only results in duplicating frames which can give a staggering look when run in real-time. 3:2 was specifically engineered because it’s fairly invisible process to the human eye.
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Anyhing I render in 10bit is going to pop. HD and SD.
Lets all hope Apple solves this nonsense for FCP 6. Things like this are what cause me daily grief using FCP as an online finishing station.
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That’s about right…a 93 minute 1080 to SD single pass took my Dual 2.5 about 6.5 hours. So twice as long for 2 pass…
and h264 is just plain slow. hopefully the rumor that apple will start including some hardware h264 solutions comes to pass.