[Assistandres]

Michael,

were you able to replicate the situation we had when capturing over firewire in 5.5.1 at DV25P in which 30 frame video was playing frame-for-frame in a 23.976 timeline?

Furthermore, we’ve had 00 set to “A” throughout the duration of our trials.

After realizing that our DSR-40 was causing video to be a frame off of captured timecode (all this over RS-422 and component cables in 5.5), we rented a DSR-1800 and are now having no difficulty with frame accuracy or pulldown. It is of note that it took us 2 weeks, 2 decks, 1 upgrade to 5.5, untold Benjamins, 2 deck control methods, 2 input formats, and 2 ACSRs to achieve correct pulldown with accurate timecode.

[Assistandres]

one solution I’ve come across (that was the most time efficient of three) was to bring the footage into a sequence

once in the sequence, stick a horizontally centered squeeze on the clip

this defaults to a 50% squeeze, you probably want 75% (it looks pretty good and 75% is 12:16 – if you make 4:3 into 12:9 for common denominator)

once you’ve rendered, do a video mixdown…now you’ve got your clip in the bin as a 4:3 with columns.

THIS WORKS FOR ANAMORPHIC 16:9. YOU MAY WANT TO DO A DIFFERENT RESIZE IF YOUR 16:9 IS LETTERBOXED, BUT THE REST OF THE PROCESS WILL WORK.

[Assistandres]

I tried a firewire direct capture and had the same 5/4 frame-to-frame issue as without the Mojo. This could point to a problem with DVCAM outputting digital video, since AVID and Mojo were able to work with the analog signal. Again, though, I’m unsure.

[Assistandres]

we actually have not yet downgraded to 4.5

the problem in 4.x with advanced pulldown may only occur over Firewire, but the warning is about compatability with the DV25P resolution. Our res choices (in 5.5 at least) coming in component are DV25P, DV50P, or 28:1.

And yes, the reverse telecine works when we hit the right frame, which happened 4 out of 7 capture attempts.

[Assistandres]

Okay, I think we got the quicktime situation figured out.

SO…

Is it going to be necessary to change our drop frame code to non-drop? and if so, how?

as far as BWFs go, whenever I import them I get a PMM_INSUFFICIENT_MEDIA pop-up and can’t play them.

What about VHS and DVD? any way to get precise capture of that material and have it play at 24 frames?

I haven’t had any real problems with Avid playing the 32 KHz audio alongside the 48…so we can cut that topic loose.

any helpful advice??

Thanks,

-Andres

[Assistandres]

Hi Michael,

I’m assisting on the doc Bill has posted about. I was able to capture the 5 clips, with A, B, X, C, and D frames at the :00 timecode and performed the “Cmnd + D” function on the Start column.

None of the cliips has the proper cadence because they’re all 30 frames playing in a 24 frame timeline. Sound drifts because audio is playing at normal speed. The drift is 1.25 frames/sec^2.

The monitor contains a timecode viewer, and here’s where it gets interesting:
When I bring the clips in, it defaults to counting frames from 0 – 720. That’s 30 seconds * 24 frames. I can’t figure out where the remaining 180 frames of video goes, because the clip follows the parameters of audio duration. The TC30 extracts the appropriate frame number from the timecode depending on the “A” relationship, just not the actual frame.

NOW…here’s some more for the puzzle:

I tried bringing in some of the footage using a 14:1 res instead of DV25P 411 (curiosity). With :00 at “A”, the footage is synched. The frames are pulled out IN RELATIONSHIP TO THE AUDIO. HOWEVER, the “C” frame is a TRIPLE INTERLACE. The top half of the frame (literally the top 212 lines) are a C and D combination and the bottom half is a B and C combination. It looks like it’s trying quite hard to pull that C frame out, but that’s the result.

Any thoughts? Help is much appreciated as Bill said before.

Thanks,

Andres