Adam Smith
Forum Replies Created
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Thanks for the help Jeremy!
I finally gave up on machine control of the HD110, but beyond that it’s all working out well.
– Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
Oh. Well that would rock.
Guess I’ll just plan on going component in – the footage is already gonna be a mis-match so throwing a little analog switchover in the mix isn’t going to hurt me too much.And for the few slow motion clips I’ll run it through Compressor.
Thanks much!
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Video Photographer / Avid Editor / Final Cut Neophyte -
[Dave LaRonde] “I’d watch out for that. To my knowledge, all NTSC HDV is interlaced and has a 29.97 frame rate. Various cameras have various schemes to make 29.97 footage look like 24p, and few include adding 3:2 pulldown.”
Yeah, I’m going to have to do some poking around before I know for sure, but the manual at least makes it look like the HD formats are flat 24/25/30p. For the NTSC (SD) formats it spells out that it’s 24p over 29.97, but the HD formats make no such mention.
What sort of pitfalls am I looking at if the footage is indeed 29.97 and not 24? I’d assume I’d first need to remove the pulldown and then add my own back in as I bump it up to 59.94?
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Video Photographer / Avid Editor / Final Cut Neophyte -
[Jeremy Garchow] “Let me get this straight. You are editing @ 59.94?”
Yup. Shot and editing in DVCProHD at 720p24 over 60i. I need to provide a 59.94 master quicktime for cinema advertising.
I’ll run the overcranked footage through compressor tonight and see if I can get it all dialed in, thanks for the info!
The HDV footage is 720p24 from a JVC HD-110, I can either suck it in via firewire or take analog component through my Kona LHe if I it’s better/easier to transcode or add pulldown via hardware. I’ll have the camera tonight so I haven’t been able to test it yet, but from what I can tell from the camera settings this is hard-24 footage.
Thanks for the help!
-Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
Never mind… I just looked at the boss’s 110U and I can’t see anywhere it records HDV at anything other than hard 30/24/25P.
Well, in a few days I’ll be doing the same thing, so I hope you get it all worked out!
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Video Photographer / Avid Editor / Final Cut Neophyte -
Maybe someone more familiar with the 110 will chime in, but
I believe this camera shoots 24p over 60i – are your input settings set correctly (59.94)?If you were forcing the 60i signal into 24p playback then it’d likely look like it was running at double-speed.
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Video Photographer / Avid Editor / Final Cut Neophyte -
Sorry.. been away for a bit. If you’re still working on this job, you could try something like TMPGEnc MPEG Editor – you can cut/paste/trim and it’ll only re-encode the parts that need it, which is usually very little.
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Video Photographer / Avid Editor / Final Cut Neophyte -
How complicated is the editing going to be?
If it’s real simple cut/paste assembly you might look into doing the whole job in an MPEG editor or DVD authoring package… if you’re able to work with the files natively (and avoid re-compressing needlessly), then you’d wind up with the exact same quality on the compilation DVD.
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Video Photographer / Avid Editor / Final Cut Neophyte -
I wonder why the issue only seems to appear in your fades…
could your FCP sequence settings have been set to render in the opposite field order of your footage?—
Video Photographer / Avid Editor / Final Cut Neophyte -
Can you tell whether it’s the Maya footage or the elements added in AE that are at fault?
I’d say re-rendering fielded video from Maya or AE (both if you can’t specify only one is the issue) would be your best bet, but obviously the most time intensive.
I’m not familiar with any interlace-adding software and although I’d be happy to be proven wrong I can’t imagine after-the-fact interlacing will match the quality of recreating the original source footage.
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Video Photographer / Avid Editor / Final Cut Neophyte