[Bouke Vahl]

If your main target is broadcast / DVD or any other ‘ real ‘ home TV set, stay with interlaced.
If you need video for the web, go progressive 29.97 or 23.976
If you want to have both NTSC and PAL rates, and/or perhaps go to the web, and/or go to the theatre, go progressive 23.976
If in doubt, go 23.976.
But if you are sure the end result is for NTSC home use on ‘ normal ‘ TV sets, stick to interlaced 29.97.

In Europe it’s different, as the time base difference between shoot and broadcast output is killing us.
But the other way around it’s a no brainer.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

But to get it really nice, you need a few layers.
So cut out parts to a new layer, blow up a bit and/or restore the bg.
(Photoshop work probably)
Then go to AE or Maya.

Nice example here:

https://www.waanzee.nl/projects/rotterdam_port_experience_-_history/

(I assume this was a week of work at least, see the specs on the final delivery…)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Not sure what happens, but a .1 % difference corresponds with 30 vs 29.97
Thus, the 23.976 file has the same duration as the NTSC version.
Speeded up by 4% is apparantly going wrong.
(there is a lot of complains about Apple not getting these things right)

I would suggest to export the sound from the original to Wave, and speed that up. (This is a small process where only the sample rate is altered, thus a pitch shift, but for some people good. Lots of hollywood productions go to PAL this way)

To create a speeded up .Wav, use WaveAgent or QTchange, or any other audio package you have laying around.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

You were clear.
So whas i, i hope…
Copy the contents of an empty XDcam disc to the root of a drive, and Avid will see it as if it was an actual XDcam drive.

No need for an actual XDcam drive, you just need a few files.
(I have them somewhere, mail me direct if you want them)

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

You can, although just per sequence.
Mount an empty XDcam, or copy the XDcam files to the root of a drive.
(Avid will see it as XDcam)

Export to XDcam, and rename the MXF in the CLIP folder, otherwise it will be overwritten on the next export.

If you have to do a lot of clips, contact me direct.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

My take at it, don’t do it in FCP.
There are dedicated subtitle editors that outperform any FCP workflow if you have more than a few to do.
Sadly, the good ones are expensive.
Starting from free web based, up to the price of a decent car.
I happen to have written one, that is (imho) reasonably priced.
(although expensive for just one job)
If it is really one job, outsource to a dedicated company.
(Subtitling is an art, besides mastering the software you also have to be very good with words, it’s NOT just writing down what people say…)

Have a look here:
https://www.videotoolshed.com/?page=products&pID=12

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

nah, subs should go to the top of the screen if the text is this big.
For normal lower thirds they rise just above those…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

My idea, get your hands on it before buying, get the ‘ feel ‘.
I got a cheapo one, including rails and it is a total joke.
The play on the sprockets is a few degrees, and the total weight of the rails + follow focus is about 5 times more than needed. (and it does have carbon rods 🙂

You get what you pay for. If it is only to impress clients, get a cheap one.
But if you plan to do serious work, be prepared to pay serious money.
But again, try before you buy. If you have felt a good one, you know why you want one like that…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

This is so funny, i’m currently busy doing about the same thing…
(Using FFmpeg for transcoding).
But:
Instead of improving the image quality, my goal is to improve workflows. (And i do not think that rendering out to DPX is something anyone will do.)
So my approach is to offload cards ‘as they are’, and make a transcoded copy right after that. (To either DNxHD or Prores, or any other QT codec you have on your machine)
Gamma can be taken care off in the QT export dialogue, as well as the RGB to 709 color mapping for DNxHD.

And to top it off, the Mac version can make optical XDcam as well.
That is of course 1920×1080 MpegII @ 50 Mb, not an ‘improvement’ over the source, but highly compatible with all NLE’s out there, and easy to give out to clients right after the shoot.

check it out here:

https://www.videotoolshed.com/product/15/offloader/2

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

You probably mean: ÜNchecked it..

In this case, probably Avid is seeing the file as video, not as a still.
Save the file in another format and you’ll be golden, or just make a (two frame) freeze.

Bouke

https://www.videotoolshed.com/
smart tools for video pros