Daniel Stone
Forum Replies Created
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Good point.
We use Red proxies for editing which link back to the original R3D files and its metadata (which is usually 4K, always straight 23.98). I don’t think Red does any of that pulldown or 59.94 mumbo jumbo that the broadcast cameras do. We own an old tape-based Varicam and I rarely use it for that reason — there’s always some sort of frame rate or interlacing issue.
For finishing we usually downsize the footage to 1080p, straight 23.98 within the Red software package and play out from a 1080p timeline. Basically it stays straight, clean, unmolested 23.98 the whole way through.
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Jerry:
In After Effects pretty much the way Dave posted.
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I established that. Thanks, though.
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Sorry guys – posted too soon. I experimented with the setting a little and got it looking pretty good.
Thanks again!
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We shoot with the EX1 a lot. I have found that FCP has some funky issues when exporting. When making a WMV I usually export to a native format first then export to my final file type (like WMV/Flip4Mac using Quicktime). When editing with the XDCAM codec the quality loss is negligible — the results are much more reliable.
Hope this helps.
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They’re ProRes 422.
I’ve had this problem for a while with any audio format other than aiff.
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Sorry, never mind. Just found this (below) which I didn’t find during my first search. Excellent info.
https://forums.creativecow.net/thread/120/859416#859416
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2 suggestions:
1. Make sure your clip is long enough to play throughout the entire transition.
2. Overlap the end of clip 1 with clip 2 and manually place keyframes to fade clip 1 out to reveal clip 2.
I feel your frustration with this. I’ve found that FCP users are very crafty because you have to be MacGuyver to trick FCP into doing what it’s supposed to do. Most times there just isn’t a reason for its screwy behavior and there just isn’t an answer.
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So, though my timeline is 23.98, it appears Compressor is exporting the videos to 29.97 (I know because that’s what it says in DVD Studio Pro). When I manually set the frame rate to 23.98 in Compressor, DVD Studio Pro says, “Incompatible format”. When I then play that clip in Quicktime, the inspector says it’s playing in 23.50 even though it’s a 23.98 clip.
I miss the old Final Cut Studio!
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Our executive producer talked to someone at Sony who said they’re aware of the wobbling issue and that this is just a characteristic of the CMOS chip set. He said that CMOS chips are a lot less expensive than CCD chips and noted that CCD chips would have increased the price of the EX1 quite a bit – so understandably they decided to keep the EX1’s price point down by using CMOS sensors. Where now they have a few guys like me complaining about wobbling, with CCD ships they’d have a lot of people complaining about price.
There are also some technical reasons why they went with this chip (some having to do with the compression which I’m not smart enough to understand) – one of which is something about the amount of processing power and heat produced by CCD chips (which is a reason the RED camera uses CMOS chips).
Interestingly enough we shot a music video with the RED camera a couple of weeks ago and the only issue we had in relation to the CMOS sensor was half-exposed frames from a strobe light which we fixed by killing the strobe light. I know they did something internally to minimize rolling shutter artifacting, though I don’t know what. Don’t get me started on the RED’s shortcomings, though. At least the EX1 turns on without having to do a happy dance. Ugh.