Aaron Neitz
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After Effects Coin
Forum Replies Created
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This isn’t entirely helpful – but I know our Flame has a filter than scans frame to frame and equalizes the levels so that flickering goes away. there must be a plugin for AE or something.
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dude, we need more info than that.
what camera, what format tape, how are you bringing it in, what timeline settings are you using, at what point are you seeing the interlace artifacts, are you watching this on a TV monitor or a progressive display like a LCD?
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Uh – there’s enough room right? Maybe the render folder going into an affinity that might be limited?
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Yeah… unbalanced RCA.
It’s kinda a sad joke. Like the Avid Mojo.
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It dropped frames? I don’t think so… all you should see is this cadence of frames: A,B,C,C,D.
It should work fine however. We just had an 88 minute feature mixed against a Digibeta and the aiff’s we got back were perfectly in sync against the our 23.98 1080p master.
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FCP 5.1.2 has an update to deal with this camera…. apparently. I haven’t used it.
Bob seems to have a bad taste in his mouth about this camera. I do too. I had one job involving footage from it, and it was a nightmare. Had to rent the camera because our Sony HDV deck won’t read the tapes… no audio over SDI. No AES…. No support for the 24F mode. And while FW deck controls works, I’d never plan on batch conforming from HDV. I’d just take it in native and never go back.
also wasn’t terribly impressed with image quality. It wasn’t bad, but I much prefer Panasonic.
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Well I’m assuming the audio is already in perfect sync in your cut. So the editor shouldn’t have to worry about it – just make it sound good. it should look perfectly fine in real-time with 29.97 picture however.
He should be able to use the same OMF from before. Just bring it into a 29.97 project.
29.97 and 23.98 are analogs of each other… both affected by the same % to resolve video rates. And since a second of audio is a second of audio, giving you an AIFF from his 29.976 project should sync perfectly with a 23.976 FCP project.
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Same way you would for any 23.98 material: add 3:2 pulldown. Or you could export it with a 30fps setting and FCP will just replicate frames to simulate the 3:2. Or do a setting in compressor with the mix house’s specs but have it convert to 30fps.
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Have him mix in a 29.97 timeline. It’ll run the correct rate for your 23.98, and then you won’t have these hassles and worries.
you’ll have to get him a 29.97 quicktime. But I think it’s worth the sleep.
Also quickly take your audio file, do a speed change to 99.91% and see if it syncs.
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Oh stop. Don’t go picking on us Americans…. believe me, if I could take NTSC and murder it, I would happily do it right now 🙂