Aaron Neitz
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After Effects Coin
Forum Replies Created
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The AJA HA5 should do the trick. It’s a HDMI to HD-SDI converter (just buy a cheap HDMI/DVI adapter…). But it doesn’t come cheap! I’d give AJA a call and see if they think it would work.
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when we ask for an Assembly, it means taking all the circle takes and slapping together a rough scene.
Otherwise, just like Shane says: cut out all the junk and put it together in rough order.
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If it’s already HDV files, I’d use Compressor. Just do batch convert with the default ProResHQ encoder. Obviously do some tests on 1 or 2 clips to make sure it’s looking correct.
Also get a decent drive(s) for ProRes. A western digital, while FW800, will probably sputter. I personally tend toward G-Tech products and avoid Lacie.
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1) are you viewing in RT / Did you render? Stills can be awfully awful when you haven’t rendered them in the timeline.
2) SD timeline or HD timeline?
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Just seeing your subject line I already has an answer: ProRes!
You can edit in HDV, but it’s slow and render heavy (long GOP MPEG nonsense). Going ProRes right off the bat will makes things go much smoother and faster overall. And you DO NOT need a raid for ProRes. It will play back just fine over any decent FW800 drive.
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1)”Show Duplicate Frames.” It’s a switch in sequence settings. It will color code any footage you’ve used more than once.
2) The only edit that wouldn’t have at least 1 frame handle is if you cut the very first or very last frame of a reel. It’s possible, but unlikely. That’s something you have to check by hand.
3) PAL?! That’s completely wrong. The film was shot at 24. If they started cutting negative with a 25fps list everything will be wrong. (if your cut needed to happen at exactly 01:00:01:00, they’d cut out 25 frames of film where they should only be cutting out 24. The further you go down the reel the larger the discrepancy).
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Ah, are you on FCP 5 by chance?
I recall we used to have the SAME problem of FCP rending the “wrong in/outs” when we had footage that had 29.97 timecode on 24fps media (we used to capture with live 3:2 pulldown over our Kona card).
you can try to to “modify timecode” and re-strip the clips with new code, but can’t guarantee if that’ll work. We ended up re-capturing our tapes and doing 3:2 pulldown in software
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Where did each piece of footage come from / How was it digitized? Where are you getting these timecodes? Are you reading them off the record timeline? Or in the source viewer?
Footage A sounds like 29.97 material put into a 23.98 timeline. Or 29.97 footage that was 3:2 pulldowned to 24fps on the fly (keeping the original TC with each frame instead of re-striping clean code)
from what you’re saying Footage B is only 12 frames per second. Which would make it very herky jerky regardless. Something is definitely wrong here.
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I was in the process of writing a long reply when your post made me try:
turn OFF remove dupe frames in L&T. FCP brings file in as 59.94 (you can see dupe frames in this file (real, dupe, real, dupe, dupe….repeat). When I drop that into a 23.98 timeline FCP magically skips the dupe frames and it looks good!
I was also going to try and bring the 59.94 file onto a timeline and manually edit out the dupe frames. But looks like FCP figured it out. L&T has a bug in there somewhere.
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