Adam Smith
Forum Replies Created
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bleah… that’s not good. Downright scary in fact… I’ll keep it in mind.
Thanks for the heads-up!
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Video Photographer / Avid Editor / Final Cut Neophyte -
You’d need to do the key first and apply the levels adjustment to the results of the key.
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Video Photographer / Avid Editor / Final Cut Neophyte -
[Clint Nitkiewicz Hernandez] “If I shoot at 1080pa, that means its recording at 29.97 fps, but I will actually be doing a pulldown to make it 23.98 in the fcp timeline. Soo, I should set my fostex to 23.98? And it will sync perfectly to the pulldowned footage?”
I’m not sure, hopefully someone who knows will chime in, but it seems to me you should be setting the Fostex to 29.97 because your video is actually being recorded at 29.97. If the two devices aren’t keeping track of frames at the same rate then how would they sync later?
Like I said above, I would think the 29.97 movie after advanced pulldown removal will have less frames per second, but the remaining frames will still have the original TC numbers – so the TC will skip a number every few frames but still have numbers that relate directly to the audio recording.
One second of audio is one second regardless of whether the video is viewed as 24 or 30 frames, you just need to know where to line it up, right? Having the audio deck track 24fps while being fed 30fps TC seems like you’d have real issues syncing later on.
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The whole 60fps thing is ‘behind the scenes’ and if you’re recording to P2 you won’t see or deal with your footage as such.
I’m sure someone will set me straight if I’m wrong here, but…
24PA is recorded over 30fps with flags set for automated pulldown removal on ingest. Since the camera will recording and be feeding 29.97 TC, I’d say that’s what the audio recorder should be doing as well.
On ingest that 29.97 recording will be trimmed down to 23.98 and I assume the clips will have the original TC with lots of skipped numbers, but each remaining frame’s TC will still match the TC on the audio.
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Video Photographer / Avid Editor / Final Cut Neophyte -
Do you need to do anything to the P2 footage or you simply offloading cards for PC use? If you have the camera and cards consider using an empty firewire drive and offload directly from the camera in Firewire Host mode with Verify… It’ll wipe the drive and create new Fat32 partitions for each card copied.
Or you could do the same from the Mac.. Creating enough >32gb partitionson a FireWire or USB drive to hold all your P2 offloads.
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Video Photographer / Avid Editor / Final Cut Neophyte -
Thanks much for the reply! We were hoping to avoid converting/transcoding mostly for storage reasons, so at this point my client is considering either buying Raylight to enable DVCPRO codecs in Vegas, or just switching to Premiere Pro.
I was hoping we could find some other good midrange codec (better than DV, smaller than uncompressed) but so far if there is one it’s eluding us, so DVCPRO50 it is!
Thanks,
-Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
Do a forum search, I’ve seen this issue answered several times here.
Panasonic’s P2CMS is software that will allow you to view your P2 contents, but not export in another format.
I believe Raylight for Mac ($200) will allow you to access Contents without the lastclip.txt file and work with them directly through Quicktime/FCP/etc.
But other people have covered the topic much more thoroughly than I can.
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Video Photographer / Avid Editor / Final Cut Neophyte -
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Ill reply here tonight with a link unless you want to leave an email address. I dont recall the file being very large, perhaps a few megs.
– Adam
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Video Photographer / Avid Editor / Final Cut Neophyte -
If you guys need it, I have the Avid Codec installer I downloaded about 2 months ago, works for me on my MacPro 8-core running 10.4.10 and QT 7.2.
It’s at home so I can’t email or upload it until tonight.