Andrew Saliga
Forum Replies Created
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I’d say less than 15% is SD. They are just quick clips only a few seconds long.
As for the client wanting SD, haha…who knows. The main reason it was shot with a RED at 4K is because there is a lot of compositing that needed to be done in post.
There are two different spots, and one they want in SD and the other in HD. Knowing the nature of clients, it could change.
-Andrew Saliga
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The majority of the footage is 23.98fps.
Final output will be via an LCD projector or LCD screen. The client wants SD outputs, so 29.97fps was the plan, and I’d assume this should be progressive since it won’t be shown on an interlaced montior.
-Andrew Saliga
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I found an article on Ken Stone’s site…
https://www.kenstone.net/fcp_homepagE/converting_frame_rates_compressor.html
He says,
“In a situation where you have two different frame rates and need to convert one to match the other, there are two directions that you can go. One will produce good results, the other not so good. Let’s say that we have footage shot at 24P and 30P. If we convert the 24P footage up to 30P, the full 24 frames will be used and an additional 6 frames will be created, for a total of 30. In both FCP and Compressor, the additional 6 frames will be based on the information contained in the original 24 frames. This is the correct way to convert frame rates so they match.
The other way to go would be to take the video shot at 30 frames and reduce it down to 24 frames. This would not be the way to do frame rate conversions because, if you reduce 30 frames down to 24, you have to throw away 6 frames and those 6 frames contain an important amount of information (particularly regarding motion). Doing frame rate conversions in this manner will produce stuttery video. So, when doing frame rate conversions in either FCP or Compressor, always convert the lower frame rate up to match the higher frame rate.”
I’m thinking that the 29.97 footage should probably stay as is, since that’s the final output framerate. Throwing out those 6 frame only to add them back in later seems like a bad idea.
I’m still unsure about when do the conversion, although I’m Googling around.
-Andrew Saliga
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In addition, some of the SD clips need to be upconverted to 720P. I’ve heard that using the Kona hardware to upconvert will give me better results than using Commpressor.
If the solution is converting the 29.97 footage to 23.98, should I upconvert it first, and then reduce the framerate? Should I perform both conversions in the same Compressor batch, or should I upconvert via Kona then run through Compressor?
-Andrew Saliga
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Great. Thanks for the tips guys. This is actually an HD project with some old DVCAM footage in it that will be broadcast in HD. Good to know that I can get decent results through the Kona 3.
-Andrew Saliga
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Ok. Great. I’ll check it out.
Thanks for your help.
-Andrew Saliga
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I figured it was a big undertaking that would involve a lot of back end.
As for programming, I don’t know any PHP or Cold Fusion, etc.. I’ve been looking into some prefab online shopping carts. You’re saying that they will require a certain amount of programming knowledge too? I realize I have to check with my hosting provider to make sure they’ll support it.
-Andrew Saliga
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I did some more testing.
I tried dropping the audio levels of the sequence by 10dB just to ensure that it wasn’t the issue. The audio is still distorted when using “Edit to Tape”, but fine when I record directly from timeline playback.
Could it possibly be my deck control settings? I’ve never had this issue before, and nothing has changed in my setup that I know of.
I don’t know if this is a useful tidbit, but the same sequence that I’m running to tape had some sort of encoding issue. I exported it as ProRes422. QT did not have any issues opening or playing it back, but FCP gave me an error about the media not being optimized. If I didn’t recompress it with the media manager, the audio drifted out of sync. By the end of the 30 minute sequence, it would be 5-7s out of sync. I’ve since re-exported it and no warning. I tried the original export on one of the other editors boxes, and it too gave me the warning.
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Ok, checked the deck and it is referencing the input signal.
I suspected tape too, especially after using the same tape several times in an attempt to sort out the issue. Yesterday when I was troubleshooting I tried a brand new tape, and still the same issue.
Now with the channel indicator lights…they only function on playback. One playback are they indicating the condition of that portion of the tape (ie: red if the tape was damaged by the head or from too much use) or is it indicating the data on the tape? If that’s the case, one would think that it would indicate during record. I’m assuming it’s the tape data like you alluded to because the indicators change at the start and stop of certain videos.
I’m thinking it’s a sync issue.
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No, there is no peaking in the audio. I’ve played it through several times while watching my meters in FCP, and I’ve also run the “Audio Peaks” marker in FCP. Level controls on the deck are set to manual and are good too.
As for the sync generator, I believe it’s on the list. We bought a large rack unit to mount all of our decks, and have taken measurements for the cabling so we can have centralized decks. So hopefully we’ll have one soon.