[Alan Okey]

For the DVD dub:

Try choosing AJA Kona 720p59.94 as the output setting in the FCP AV settings dialog box, then configure the Kona in the AJA Control Panel to downconvert to SD in hardware. This should give you NTSC 29.97 interlaced with 3:2 pulldown added, all with no rendering required (aside from the TCR window).

[Alan Okey]

[John V Pappalardo] “I ultimately want to use dvmatte pro to create the final chroma key; however, anytime I use it, the “green” aura is keyed out properly, but it also creates a black image where my alpha channel is. This creates a black matted bakcground around my keyed out subject. “

I believe that when using DVMatte Pro, you need to put the background clip into one of the image wells in the filter controls (in the viewer window) rather than on V1 of the timeline. In other words, you apply the filter to the front clip, then add the background clip in the filter controls rather than by stacking a front and back clip on V1 and V2 in the timeline. It’s an odd workflow, but that’s just the way they designed it.

[Alan Okey]

Although you have verified that you have read and write permissions on the drive, make sure that “ignore permissions on this drive” is checked in the drive info box.

[Alan Okey]

Sorry, but I don’t buy that a 2:2:2:4 cadence looks any less crappy on the web or a mobile phone than it does in broadcast.

[Alan Okey]

First of all, what are the specs of the other SD footage that you need to intercut with your downconverted HD footage? What will be the ratio of native SD footage to downconverted footage in the final product?

If the majority of footage in the project is 29.97 interlaced SD, then I’d suggest making your sequence setting 29.97 interlaced ProRes 422 (not HQ). If the SD footage is NTSC-DV, make your frame size 720×480, lower field first. Then use Compressor to downconvert the 1080p24 XDCAM EX footage to ProRes 422 720×480 29.97 interlaced (lower field first) with 3:2 pulldown added. You’ll need to change the frame rate to 29.97 in the video compression settings dialog and make sure that the frame controls tab is turned on. Choose lower field first in the field order settings, and choose best for the resize filter setting. Make sure to change the resolution to 720×480 with a pixel aspect ratio of 0.9 in the output dimensions section.

If the majority of the project will be the downconverted footage, you may instead want to use Compressor to convert the native 29.97 interlaced SD footage into 24p SD and downconvert the 1080p24 footage to 24p SD, then edit everything in a native 24p (23.98) SD ProRes sequence.

Which route you take mainly depends on whether you want the 29.97 interlaced footage to retain the interlaced look, or if you want it to match the 24p look. In documentaries, it’s not uncommon to see archived 29.97 interlaced footage intercut with recently shot 24p footage (with 3:2 pulldown added). In a dramatic feature, it’s more common to make everything 24p for a consistent look. What’s the nature of your project?

If you haven’t used Compressor before for this kind of advanced format conversion, you really should crack open the manual and read up on what all of the various settings do. It’s by properly configuring the frame controls tab settings that you can really unlock Compressor’s potential as a format converter.

What will be the primary delivery format for this project (DVD, broadcast, etc.)?

[Alan Okey]

[Roli Rivelino] “I have just been given some xdcam ex footage”

Please tell us that they gave you an exact duplicate of the complete BPAV folder from the SxS cards. If not, immediately smack the client upside the head with a rotten trout and demand the original BPAV folders from the SxS cards.

[Alan Okey]

[Dave LaRonde] “You removed the pulldown before you started cutting, right? “

The EX-1 shoots native 1080p24, no 3:2 pulldown removal required.

It may actually be the case that he needs to add pulldown – see my above post.

[Alan Okey]

What are your SD sequence settings, and specifically, what is the editing time base (fame rate)?

FYI, if you’re attempting to intercut the downscaled SD 23.98 footage with 29.97 interlaced footage in a 29.97 sequence, you’ll have problems. If this is the case, you will need to use Compressor to downconvert your 1080p24 clips to SD 29.97 with 3:2 pulldown added prior to importing into your 29.97 sequence. FCP does not add in proper 3:2 pulldown when 24p clips are dropped into a 29.97 sequence. Instead, it applies a horrific 2:2:2:4 cadence that looks atrocious.

[Alan Okey]

[Michael Sacci] “are you getting major speed increases with gpu stuff?
“

That’s hard to say because I upgraded form the Radeon 3870, not the stock low end nVidia card. The 4870 is noticeably quieter, but probably only a little faster for Pro Apps compared to the 3870. Both of them run circles around the stock nVidia card, however.

[Alan Okey]

I’m using an Apple-OEM ATI Radeon 4870 in a 1,1 Mac Pro with no issues whatsoever. I think you’re safe to proceed.