Captain Mench
Forum Replies Created
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It really depends on what your final out will be as to the workflow you want. 24p IS 29.97 footage. The reason for shooting that way is to maintain a pleasing 3.2 cadence when watching on a TV… this is what TV stations add to film to show it on TV… it’s called telecine. BUT – it has its drawbacks. You must edit on cadence or you’ll end up noticing it. So…
Here’s what I believe and do…
I shoot 24pA and remove the advanced cadence (yes, 24pA is also 29.97) on the fly as I capture it in FCP.
Then I edit in 24 fps with no worry about cadence splicing. Then, if I want to send it out for broadcast I lay it back to tape with FCP adding the 3.2 cadence TRUE across the whole edit.
If you’ve shot 24p mode and still want to do this it’s an easy fix. Load the captured material into Cinema Tools and remove 3.2 cadence there… then proceed.
CaptM
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There are also the tutorials that came with FCP.
CaptM
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Hard to tell from your description.
24p on the DVX does indeed bring interlacing into play as it is using a 3.2 cadence adding interlaced frames to make it add up to 30.
Is this what you are seeing? Are you watching it on an external monitor? Does it bother you there?
CaptM
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https://toolfarm.com/2006/03/red-giant-instant-hd.html
Download the demo and give it a shot. Good price point too, if you need it!!
CaptM
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REMEMBER — DVDs are HIGHLY compressed forms of video delivery!!! Uncompressed video won’t play on a DVD.
Not sure you are going to be able to get 100 minutes on iDVD… I believe it has a set compression formula that will do 90 minutes max. HOWEVER… since you are in 24fps (not what you actually SAID… but I’m assuming) it might think the number of frames will add up to 90… not sure.
What you want to do is File-Export-Quicktime Movie — current settings self contained or not… doesn’t matter.
Drag THAT file into iDVD and let it compress it for you. It might work, it might not.
Good luck,
CaptM
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Generally what you are describing is a rendered transition moving to a non rendered or DynamicRT still. Render out the sequence in full and you shouldn’t see this. Option-R might be your best rendering option at this point.
CaptM
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I think 1309 is in the HFS range… check the formatting of your FW drive. Needs to be Mac OS Extended — or maybe some of the desktop hidden files on that drive are missing.
Can you reformat the drive without loosing stuff?
CaptM
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Try Option-R…
If that works… well then it has to do with a few things… how your RT settings are set up and how your render settings are set. Apple-R will render only those colored lines that you’ve told to to render… or the defaults I think are anything above green. So go to Sequence – Render… and click a few extra colors. Those will now render too when you press Apple-R.
Good luck,
CaptM
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Wow — interesting question…
I could come up with a whole list of questions that even Tom would have to go digging into the manual to make sure of…
I think you’d want to find someone who knows film making too… not just someone who might know the program well, but isn’t keen to the process of creating a quality product. I mean, someone who knows that there are 231 video transitions in FCP but only 3 are of any use… someone who ‘feels’ the cuts.
I guess you could ask, “When someone says ‘we’ll fix it in post,’ how does that make you feel?” If they say, “Great” then they’re a shooter only… if they cringe, well — you might have someone to work with.
Are you looking for someone who knows FCP only… or are you looking for a strong FCP and STRONG Motion/DVD creater person?
I do like the Cow question actually…
Sorry I’m of no help.
Maybe…
What’s the difference between straight/L/J cuts?
What does the key stroks JKL do for you?
What steps are you comfortable in taking to trouble shoot FCP?
Describe the basic 4 windows and their uses in FCP?
If I gave you a DVCAM tape what would your basic settings be to capture it? — how would you know if you are wrong…? How would you fix it?I don’t know. Glad I’ve never taken an interview!!
Good luck,
CaptM
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One thing that REALLY helps slowmotion in FCP is interlaced footage.
I’ve done a few tests with slow motion in Shake and FCP and frame for frame, the engine in SHAKE is much better at interpolating the information if you use progressive footage.
NOW — I’ve got another technique that works GREAT if you can plan for it… it involves shooting 60i then converting that to 720p60. That’s 60 frames per second then you conform THAT to 24p and it looks GREAT!!
Can be done either with compressor or with shake.
CaptM