[Christian Hart]

Hi Declan (and other potential helpers!)

I have just been sent a drive with D5 media and also got the error:

“100EOS5D” contains unsupported media or has an invalid directory structure. Please choose a folder whose directory structure matches supported media.”

I noticed that someone has renamed the .MOV files inside the 100EOS5D folders (trying to be helpful with scene & take numbers i think: eg. scene3slate28take2.MOV) but left the .THM files as they are – eg. MVI_2967.THM

Could anyone suggest an efficient way of getting back to square one, so i can still use log and transfer and keep timecode information?
My current thought is to sort by ‘date created’ in the finder so that i can see which .MOV file corresponds to which .THM file and rename the .THM files to match.

Any thoughts? Am i missing something obvious?
I know i could just bung the mov files through mpeg streamclip or compressor but would like to use the log and transfer process to add more metadata

All the best,

Matthew

[Christian Hart]

I would just like to chime in and echo Jeremy’s comments here.

The compressor workflow finds the correct cadence for you.

I used it to convert some old archive footage originally shot @ 24 but given to me as 29.97 quicktimes into ProRes at 23.97.
(look for the reverse pulldown option inside frame controls deinterlace tab.)
I then used cinema tools to conform to 25p to match my own project.

[Christian Hart]

Hi Rafael,
did you ever get this working?
I am trying to do nearly the exact same thing – use old stock footage
originally shot on film (WW2 battle stuff) given to me as 29.97 quicktimes but not as mpeg2 – instead with an animation codec.

i’d like to use them in my 25p DVCPro HD project (which we are going to make both PAL and NTSC DVDs from btw)

From reading about this on the forums the solution seems to be as shane says – convert to iframe (compressor for this? I seem to get “Failed” messages)

Then I can supposedly use cinema tools (as you’d expect i’m getting temporal compression errors if i try it straight away) to make it 25p…

Has anyone got any pointers for things i may have missed?

I’m using 10.6.2.
compressor 3.5.1
fcp 7.0.1

all the best
c
–

[Christian Hart]

Thanks very much Rafael,

i’m trying this method now…
It would seem to make sense – but the only thing i worry about is FCP’s ability to scale the video (compared to compressor’s frame controls) – what do you think? It does seem to come out a bit blurry…

Any argument for leaving the frame size as close to 720×576 as possible
and then using compressor to re-scale in the final step do you think?

[Christian Hart]

Thanks Tom,

I think i will experiment with the adaptive slider – hopefully it won’t add too much to the transcode time….

I’ve also just tried using Joe’s Filters, “Joe’s Deinterlacer” in Final Cut setting it to Upper field (odd) then exporting out a QT ref before running through compressor which does seem to help quite a bit.

[Christian Hart]

Would just like to say thanks to Adam Ben and Nick – that is all incredibly useful information. I hope to never find myself in that
situation again (up at 2am using the wrong tools, no time to spare
and with no solid understanding of what i am doing!)

Believe me i tend to be the sort of person that learns as much as i can
first, before attempting anything like this but as i say, it landed in my lap..

The transmission engineer was quite helpful in pointing out what would fail the program but i obviously couldn’t ask him a million questions eg “how do i correct audio that is out of phase” etc etc so some heavy reading was required in places.

I corrected luma / gam levels and checked audio remained between -18 and -12db before mixing down and, for simplicity, centering all tracks (mono mix was stated as acceptable)

It’s supposed to be broadcast very, very, shortly so we shall see…

Thanks again.

[Christian Hart]

Michael don’t worry – i’m not some numpty that thinks he can press
a magic button as a substitute for a decade of tech knowledge and artistry.

However, i do find myself in this situation (rather unfairly i might add)
and I do need this film to pass the broadcast specs!

All pointer about how/ what tools to use within FCP and in what order –
as walter has so kindly done on his blog would be greatfully
appreciated.

Not to make a piece of amazing work – just to get it to pass!

[Christian Hart]

I hear you Shane – i’m usually wrapped up fully in the offline side of things and hand over to a post house, so yeah – i am stumbling about a bit.

Off to go mix down my audio and check the yellow exclamation mark is banished…

[Christian Hart]

thanks very much guys

i do have a list of specs for the broadcaster but i was also
hoping for was more of this kind of thing :

(from walter’s blog)
https://www.biscardicreative.com/blog/?p=134

maybe some audio help as well!

Just dont want to forget anything as i only have one shot..

[Christian Hart]

bumpkins