[Alexander Perlman]

Hey Todd,

Thanks for the quick reply! It’s definitely not fluorescents. It reoccurs at several points–always with blown out highlights coming from the sun. I suspect it may be the autofocus on the DVX100, but I’m not sure.

[Alexander Perlman]

Hey John,

So I downloaded the demo of Standards Converter and I’m not entirely sure how to proceed.

I’m working with 24PA footage so I tried use G Advanced Pulldown Remover. The Nattress manual explicitly states to apply this in a 60i timeline (as opposed to the 23.976 timeline that you specified), because it basically converts the 24PA content to 24P, which should live in a 60i timeline.

I exported the video clip and applied a reverse telecine in Compressor. It seems to have worked, but its a remarkably convoluted workflow (there’s hundreds of shots over 72 minutes of TRT), so I’m wondering if there is an easier workflow.

Any suggestions would be greatly appreciated.

Thank you!

PS. Here’s a link to a reference output after going from 24PA to 24P then being reverse telecined.

https://www.wetransfer.com/downloads/172466633731b740492945919b6ac0a220151101181625/6fa3df3aa5f0f9c8a7c4a3ac1fcc437320151101181625/31638d

[Alexander Perlman]

Hey Shane,

I’m standing by for final delivery specs from the EP but We signed with a distribution company that will arrange contracts with online distributors (Hulu, Netflix, etc.), so I’m assuming that we’ll need a progressive delivery.

I don’t mind if the 60i stuff looks skippy–its some terrible black and white footage that we’re licensing from a Youtuber that gets 1-2 minutes of screentime at most.

[Alexander Perlman]

Hey John,

So if I understand correctly, I need to drop this effect on every single clip in my timeline?

My sequence is 29.97. Should I copy the contents to a 23.976 sequence first?

I have a few seperate 60i clips in the film. How do I deinterlace those vs. the 24PA content?

Thank you so so much! You are a life-saver.