Alan Okey
5
COW Coins
2
DaVinci Coins
Forum Replies Created
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[Jessica Newman] “I had no idea that DV was so difficult to use for Chromakey work.”
You might enjoy reading this:
https://www.neopics.com/bluescreen/
The solutions listed at the bottom of the page are outdated, but the section explaining the technical reasons for DV’s shortcomings is well illustrated.
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[walter biscardi] “The downsides r u cn’t ed in rl tm. So u nd to render ev’ng in your timeline.”
omg lol!
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[Patrick Bateman]
Don’t you have to return some videotapes?
😉
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Red is probably the toughest color to use for titles. It tends to highlight color subsampling more visibly than other colors, whereas white is purely luma channel, so the color subsampling isn’t visible.
How are you monitoring the footage? It will look worse in the FCP canvas than on a broadcast monitor.
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[Charles House] “I’m reading about Cinema Tools and Compressor potentially being able to solve this issue. I’ve tried JES Deinterlacer, and it seems to help, but also add some blur. I am also not aware of how do alter the settings as per my footage, if that’s something I’d need to do to get the best results. Are any of these options for me?”
The problem is that your footage, as it is currently edited together, is a hybrid of both interlaced and progressive footage – it is neither purely interlaced nor progressive. If you attempt to deinterlace it, you will degrade the progressive frames.
Cinema Tools can remove pulldown on individual 24p clips shot with with 3:2 pulldown, but it requires some manual guidance. You will need to specify an A frame first before the shot can be conformed to 24p – read the manual for a complete explanation. Conforming must be done on a per-clip basis, not on a completed edit.
You can’t remove the pulldown on the entire edit all at once because the pulldown cadence (a repeating pattern of three progressive frames followed by two split, interlaced frames) will not necessarily remain constant through an edit. For example, the cadence of progressive whole frames (W) and interlaced split frames (S) may be W/W/W/S/S on one shot and W/S/S/W/W on the next, followed by W/W/S/S/W on the next. If you attempt to remove pulldown on a single file containing cadence changes, you will butcher the footage and end up with a bizarre mix of 24p segments followed by interlaced segments with no consistent pattern or pulldown present. There is no way that Cinema Tools can automatically determine the cadence as it changes. This is why it’s critical to remove the pulldown prior to editing.
Compressor also has the ability to remove pulldown, but I don’t believe it can automatically detect and remove pulldown on a file that contains a changing cadence. I’m not positive about that, however.
I am highly skeptical that there is an automatic toggle function that can legitimately fix this in Premiere.
In the future, the correct workflow for working with a DVX100 would be to shoot 24pA and let Final Cut Pro automatically remove the Advanced pulldown upon capturing the footage, then edit in a native 24p sequence.
If you have to go back and try to fix what you have already shot, the necessary workflow would be to first go back and individually conform all of your captured clips to 24p using Cinema Tools or Compressor. You would first need to ensure that each captured clip had an unbroken cadence. If they did not, you’d have to either recapture the footage by logging and capturing individual clips or manually cut up the captured clips into separate clips with unbroken cadence. Once you conformed all of the original clips to 24p, you would then have to manually recreate your original edit in a 24p sequence.
It’s a staggering amount of work, which is why I said that it’s a tough lesson to learn. It’s also a great reason to shoot 24pA and not regular 24p, because FCP can automatically remove Advanced Pulldown on capture, whereas normal 3:2 pulldown must be removed on a per-clip basis using Cinema Tools or Compressor.
At this point, you should probably just author the DVD as-is and live with the fact that it’s 24p over 29.97i with 3:2 pulldown. It will look fine when played back on DVD players. You see movies on TV all the time that are 24p with 3:2 pulldown played back in a 29.97 interlaced signal and you don’t even notice it.
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The proper time to remove pulldown is prior to editing, so that you can edit in true 24p. There is no way you can fix this now short of starting over, removing the pulldown from your master clips and replicating your edit in a 24p project. The reason for this is because the 3:2 cadence of the clips in your 29.97 project will change on every cut point, so it\’s impossible to remove the pulldown on the finished edit in a single operation. You\’ve learned a tough and valuable lesson.
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[Scott Sheriff] “I am so glad that someone has finally asked about this topic, which has remained in the dark for so many years. How this has been overlooked in past discussions on this board is truly mysterious.”
What baffles me is the extreme infrequency of posts in the FCP forum about shooting with DSLRs and working with h.264 footage…
(ducks)
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Another vote for Futura here
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Why not simply render out a set amount of the clock in real time as a self-contained clip, reimport it and then use speed ramping to achieve the speedup? In other words, treat the clock the same way you’d treat video footage that you wanted to speed up. If it has to be superimposed on top of other footage, render the clock footage over a transparent alpha channel. Ue ProRes 4444 or the Animation codec (with “millions of colors +” selected), reimport the clip, superimpose it over the other footage and then tweak the speed as necessary.
I’ve never actually tried exporting clips with alpha channels from within FCP, so I can’t verify that it will work. However, you could also generate the clock in AE or Motion and render it over a transparent alpha channel, then import the result into FCP.