Bill Russell
Forum Replies Created
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Hi there. Thank you for your response! Hmm, I know it CAN reverse 3:2:3:2 cadence of DV material, because I have often put telecine material on DVCAM (without flex files) into FCP 5.1.x and had it reverse whole batches of clips no problem. This project was edited a few years ago in FCP 3, so editing 23.98 at the time was not an option (and this was before 24P HD became dominant). Show was shot DV, small chunks of tape not available (or not easily recaptured because of repeating timecode swaths across breaks), will go PBS in the fall and film-out later. It was mostly shot DV (Panasonic 100). The reason I’m converting the show is precisely because the Tenorex (actually Alchemist) house said too many 30 frame dissolves/FX and interactions with 30 frame archival made converting without heavy artifacting nearly impossible, that I needed to give them a 24fps timeline first, so their main purpose would be the uprez. I’ve done other 29.97 shows through Alchemest to 24p HD, but those shows had only scattered instances of material that needed to be pre-corrected.
One reason I am getting wrong cadences is that captured clips have changing cadences across camera-start/stop, so CT correctly identified head of clip, but not portion used. I’m putting each one of those aside to media media manage as you say. What I don’t know though, is why some simply failed. Anyway, my main concern is why FCP is detecting and forcing wrong frame rates on some footage, I don’t know how to “release” those clips now.
So 29.97 DVCAM tapes can be captured into a 23.98 edl?
That’s VERY interesting about the free JES software! It sounds somewhat sophisticated! This may be quite helpful.
The “hosed” speed changes, and much other key-framing in fact, is such a bummer. At v5 FCP still as buggy as ever, some ways new, some ways quite old.
So there ya go. Again, if ever thoughts what this forced frame-rate change is about – or how to get out of it – much appreciated. Thank you, Sean!
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Well, 4.7 to 7 with 2pass best quality compression is actually really good, shouldn’t need better than that. See what the 6 does for you if you’ve got the luxary, but I wonder what’s up.
What program are you authoring the DVD with? A shot in the dark, but I wonder if the DVD program is again recompressing the mp2 you already made. I don’t use iDVD, but I wonder if it recompresses any movie file, regardless of the codec. If that’s the case, might be better off giving the program a native DV quicktime to work with, then you only have recompression occur once.
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Okay, good luck. If all your problems are solved as far as what you see on an NTSC interlaced TV (hooked up to your firewire deck, I presume) then the only concern is getting good enough encoding for your DVD. Bad encoding will give you noticeable blockiness on movement and fast edits.
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No black going to deck and monitor. Black for firewire?
Hmm, okay, but you gave me an idea. I just scrolled though deck menu settings and changed “Out Ref” to “Input” intead of “Ref”.
Darn it! Nope, it’s still doing it. Shoot.
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Hi there. (Almost be easier to detect what’s wrong by seeing your unpleasant results. Any way of posting a sample on a website somewhere? Just a thought.)
At first blush it sounds simply like poor DVD (mpeg 2) encoding. Are you using Compressor? DVD Studio Pro? You can customize encoding in these programs. You may want to choose “Hi Quality Encoding” and make the video as short as possible per disk, the filesize as large as possible, the disk capacity as large as possible (like using double-layer etc). Don’t go above about 6 bitrate though, otherwise DVD may stutter. If you encode audio as AC3 you will have more room for video information.
Re: Anamorophic. Won’t have anything to do with blockiness on a DVD. Anamorphic setting on clips is appropriate IF your sequence is Anamorphic. And when you author the DVD you want to make sure to flag it as anamorphic (if your show is anamorphic), otherwise the result will be “squeezed” looking on a standard definition TV, that’s all. If your sequence, though, is letterboxed, then you DON’T want to flag DVD’s anamorphic. Letterbox means you “unsqueezed” the anamorphic source clips into a square (3×4 = not wide) sequence. That’s alright, if it’s what you need. Otherwise it is good to stay in format from source to sequence.
Worth noting that if you have DV material not on 0x0 center (in motion tab), it will look slightly blurry if horizontal is on anything other than an exact even line (0,2,4,6 etc.) Again, you will see this on a production video monitor even before you burn a DVD. Motion tab up-scaling or aspect stretching can cause this too.
Re: 24p fx on a 29.97 sequence. What FX are you using? Yes, well, mixing 29.97 interlaced with 24 progressive (without correcting for it with a third party filter like Nattress) can cause a horizontal combing. You should be able to see this on your NTSC production monitor even before burning to DVD. But the combing might be invisible to you if all you are looking at is a computer screen, because there you only see half the lines (every other line). Also, 24p material cut into a 29.97 sequence will be slightly jerky in movement unless you use a third party filter to add a pulldown (the conversion from 24p to 29.97 frame rate – like with Nattress). Again, you would see this on your NTSC monitor before DVD burning.
Hope something in here is helpful.
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Hi, thank you. Just watched the deck now, and it doesn’t seem to notice. No errors, and iLink remains steady.
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Thanks. Nope, not the cable (already swapped), and there is no tape in the deck. The deck works fine on an Avid Express Pro — use it all the time over there. On FCP, it blinks, regularly. I’ve trashed pref’s, parameter ram, rebuilt permissions, Applejack’d, diskwarrior’d, all that and more. Thoughts?
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“i’ve got the same problem. it occurs when your project file is located on a external device”
Ah, thank you, yes, that seems to be it. It’s between FCP and the external drive. Any project file can do this, so it has nothing to do with a corrupt project. Yup, suddenly FCP can no longer write project-type files to the device, including AutoSave files. But if Autosave is directed to another device, or I save a copy of the project to another device, then it works. This is a PAIN, but it is a workaround, so thank you!!
FCP 5.x feels like it has a lot kludgey type fixes in it, from media management fix attempts to this file error thing. Hmm….
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Autoformatting? What’s that?
Re: “the filter is embedded in the project file itself, no amount of editing the app package will help you.”
Actually, let’s say that the filter is not embedded in the project, only the descriptions for the use of the filter are, otherwise every project file would have to be a full application. In FCP3, when you remove a particular filter from the application support files, then when you reopen the project, the project file is “blind” to any plug-ins that don’t exist. Then you simply redo the renders, and viola, the filter effect is gone. But later versions of FCP seem to be built completely differently, I don’t see a way to “kill” any one filter from the app. Hence, my best laid plans….
Re: Removing attributes — sigh, indeed, it is as Andy says, no two clips have the same filters, it’s a good idea, but that one’s not gonna work for me. Anyway, thank you!
I still haven’t had a chance to play with XML files. Is your “autoformatting” comment suggesting that it won’t work? Here I am at home, there is my Final Cut at work, and look there, the weekend between me and it… hmm…. time for ice cream. Cheers!