[Chris Jones]

Thanks for the answers.

I didn’t realize it was that basic (turning fields into progressive frames).

The fact that the way it does it is very complex made jump to the conclusion what it was ultimately trying to achieve was as complicated.

I have another question but I’ll start a new post for that one.

[Chris Jones]

[Shane Ross] “d if you recorded 8 channels of audio, but only imported 2…that might be i”

That made sense until I checked it and they were the same!

But then it dawned on me. I shot at 1080 24PA. I’m guessing the advanced pulldown would reduce the overall sized of the data I shot?

[Chris Jones]

I’ve heard that in video and audio manipulation that “damage” or maybe “distortion” is a better word – occurs.

For example when you push the gamma up you get noise.

I heard – maybe incorrectly – that if you increase the bit depth of video from 8 bit to 10 bit, that while you are not increasing the true numbers of colors – you are giving more room for the “damage” done to the video to be less severe.

Along the same lines as why people record at 96KHZ. The true KHZ from a 96KHZ sample is half that so 48Khz, but the human ear can only detect up to 22khz. But after heavy manipulation in post the quality is reduced but you can still in the end reduce what you are left with to 48khz (or 24khz really).

I’m not sure how much, or if any of this, is true.

[Chris Jones]

Thanks,

That’s interesting about Squeeze. Compressor it is then 🙂

[Chris Jones]

Thanks for the response.

After a bunch of test I ended up with what you suggested – PR HQ. It does look very nice.

Have you found there are any tricks to better quality or things to avoid when transcoding to ProRes. For example I found when I transcoded to PR4444 my whites were boosted and some of the top ends clipped – I’m not sure why.

Just curious if you have found using Compressor, Sorrenson Squeeze of FCP makes any difference, or of they are all about the same.

[Chris Jones]

“You’ll see 4 clean, different frames and 1 duplicate frame”

That is what is so strange. There is no pattern to it. Just on some clips, several seconds in… 1 duplicate frame, then no more.

Maybe it was because I had the settings wrong and it was trying to preserve length of the clip after it adjusted the speed. But even so, the clip I found it on was only about 30 seconds in total length and the double frame was only about 10 seconds in…so I wouldn’t think it would need to do it.

But as long as it’s a double frame and not a missing frame, I’m okay. I plane on converting the edited scenes to DPX in the end, so I can just remove the one DPX frame.

I’ve really come to love working with still image sequence files.. 🙂

[Chris Jones]

That is where I got the download that I tried.

But during the setup it asked me to connect the camera because it needed to do something to my camera. I didn’t want to do that because I didn’t want to risk it doing a firmware update on losing the clips.

I installed this one originally to my PC

(Win) P2 Driver software

But after installing it I was not able to connect to the camera.

[Chris Jones]

Thanks everyone for all the help! I feel a lot more comfortable with the ole’ “23.976 or 24.00?” question.

I’ll use Rafael’s method. At first when I used Frame controls I was getting jagged edges along straight lines, but maybe I had a setting wrong. It’s working great now.

I did have another mystery. A couple times about 10 seconds into a clip I would get 1 and double frame. I tried conforming it a number of different ways and kept getting the same thing. I checked the source footage and it was not there.

I just did a convert using Rafael’s way and it went away…. but I’m pretty sure I tried it that way before and got it… but maybe not. I noticed it on another clip too. I’m not sure if it’s a glitch from the advanced pull down removal or not. It’s not the end of the world, since I can always remove 1 frame.

Overall though it seems to have a working workflow and a greater understanding of what I’m doing 🙂 Thanks again all for the help 🙂

[Chris Jones]

Hey Matt,

Thanks for responding. This whole converting 23.976 to 24.00 is giving me a headache 🙂 It seems a lot more complicated than it should be.

The 23.976 video I have is being added to a 24.00 16mm film edit, which is then going to a festival. For the video there is no sound, so that at least is not something I have to worry about.

Do you remember in Compressor how you made the conversion? It seems there are 2 ways to do it. In the Encoder you can set the Video setting to 24. Or in Frame controls you can change it a number of different ways.
The problem with frame controls is that I started to see jagged edges in the picture after I used it.

My main concern is that I just don’t want to drop any frames (or add any frames). Do you remember if you changed the settings in the encoder from “Current” to “24” or did you do something in frame controls like 23.98@24 or “so source frames play at 24.00 fps”?

Thanks!

Also I was wondering if you had the link to your post about converting 24 to 23.976. I thought I might follow along with that and I might learn something.

You may also want to follow my post. There is a guy who just jumped in and did a bit of explaining – which just confused me more 🙂
Here it is:

https://forums.creativecow.net/readpost/8/1160608

[Chris Jones]

Thanks for and response.

Just so I understand how it works. Do the separate saved folders from each of the P2 cards have to both work together in some way?

I mean, is half the shot in one folder in and the other half in the other folder? Or when I saved the CONTENTS and LAST TEXT files to the computer did it join the second half of the clip to the first part?