[Chris Jones]

I have a color temperature meter and I tested 2 $10 dollar bulbs that claimed to be 6500K

One was 7200K (Verilux) and the other 7500K (Longstar)

I posted a similar question a couple weeks ago and got a few interesting options. I haven’t tried any yet.

https://forums.creativecow.net/readpost/277/17306

[Chris Jones]

You might want to contact Joe Kane. He is one of the leading experts in the set up of projectors and some of the major manufactures build the projectors to his specs. He was the Chair at SMPTE at one point. I was lucky enough to get a demo at his house last year on his personal projector. It was one of the most impressive things I’ve ever seen.

He lives in your part of L.A.

https://www.videoessentials.com/about_jk.php

[Chris Jones]

Thanks for the explanation. That makes a lot of sense. I’m one more step towards understanding this stuff 🙂

“Second, I’m scratching my head why you insisted on real-live 24fps and didn’t simply leave it at 23.976.”

I’m glad you asked me this since after redoing the short film I’m re-editing a feature film I shot on film to HD (I have rescanned all the film to DPX).

If you can scare me away from editing it at true 24fps please do so. I’ve been debating this for a while. I’ve read about it, heard the arguments and know everyone says to edit at 23.976…. but most of the arguments I’ve heard were against people shooting video at true 24.

This is my thinking behind editing at true 24:

First, the film was shot at true 24 as was the sound.

To edit at 23.976 I would have to convert all the film and audio to 23.976 to edit it at that frame rate. Which would be a pretty big job considering the dozens of audio tapes.

I would then have to convert it back from 23.976 to true24 if I ever want to go to a film festival.

Also I like the idea of having a master where the audio has not had the speed changed (I’ve never really understood if converting from 24 to 23.976 compresses the audio, or it just plays in the timeline at a different speed)

It seems I can just edit everything in its native true 24, then when I’m done, convert the final product to 23.976. I would just be doing it later rather than sooner.

But I don’t really understand the inner workings of computers and video as I understand film. If there something I’m missing?

I’m very open to any argument against what I’m doing. I don’t want to be far down the road and say “Ohhhhh THAT is why everyone says to edit at 23.976…. wow.. I’m really messed up now…”

[Chris Jones]

I think since the video was edited, the reverse pulldown does not work perfectly. Although it does say Compressor should adjust for this. But I’m not sure if that means it will or will not leave double frames.

“If you take these telecined clips and edit them as NTSC video, the result will be a final video file that has a broken cadence with an inconsistent 3:2 pattern. It is much more difficult to remove the telecine from this clip since you have to constantly verify the cadence to make sure you don’t inadvertently choose incorrect fields when creating the 23.98 fps video.

The Reverse Telecine feature included with Compressor automatically detects broken cadences and adjusts its processing as needed.”

[Chris Jones]

The original edit of the short film was 29.97 (shot on 16mm 24fps) That as done 10 years ago.

I put a copy of that in compressor and did a reverse telecine on it. Which should have given me 23.976.

I then took THAT footage and converted it to a true 24fps.

In that footage I’m finding the duplicate frames.

I thought since I was reversing telecining the 29.27, then changing that new frame rate from 23.976 to 24. In a true 24 fps timeline I would have a clean 24fps with no duplicate frames. Which is not the case.

I’m curious to know why in hopes that one of these days I will no longer be perplexed by these frame rate conversion issues 🙂

[Chris Jones]

Thanks for the responses. The tube bulbs look like they would be much easier to wrap an ND around. I think that will work!

Any issues with them making a buzzing sound?

[Chris Jones]

Thanks! 🙂

[Chris Jones]

Did you try to convert them to .tif files?

[Chris Jones]

Thanks KC that worked!

And pulling the footage into the media pool isn’t a big deal since I had planned having to locate the files anyway.

XML is like magic when it works 🙂

[Chris Jones]

I was actually trying to join 2 clips – the grade applied to the correct clip was just a fortunate byproduct.

I had split up a takes from a 5 min clip. But found after grading I had split a clip in the wrong spot and was trying to join it back up.

I’m not sure if I should always place the playhead at the end of the clip nearest to the one I want to join; always use the second clip; select one clip, then place the playhead over the other clip and click “join clip”, etc. It also seems there is a way to control which grade is applied to which clip.