[David Battistella]

What HD cam framerate are you using?
What is the Timeline Framerate

Is it 23.98 or 59.93?

I am assuming it is 23.98 because you are using a tri-level sync generator. If this is the case then you need to be sure that your sequence settings and KONA OP settings are all set to 23.98. I know it seems basic, but the stutter seems to sound framerate related.

David

Peace and Love 🙂

[David Battistella]

If you have a powernook you can go with an external FW 400 drive. The camera attaches at the end of the daisy chain.

Make the FW drive the drive for your media disk and avoid capturing to your boot drive (the boot drive does not want to play back footage and run applications at the same time.

Please try to list your questions in order:

1
2
3

So that it is easier for you to figure hem out and easier for us to answer.

Thanks,

David

Peace and Love 🙂

[David Battistella]

open compessor,

create a new preset that is 48K and 29.97 and batch the audio files.

it is not a thing I can take you through step by step if you do not have a basic knowledge of batch compressing.

David

Peace and Love 🙂

[David Battistella]

Shoot everything on DVCPRO50 codec. This will give you 4:2:2 quality and you will get a lot of space of the P2 Cards. It will also allow you to take advantage shooting “speed between 4-60 fps”.

If you are only going SD then this will help you get eh most out of the camera and your cards.

You could shoot HD and edit HD and then downconvert to 10 bit uncompressed in SD but I think that you are best to stick with the DVCPRO 50 codecs and work wiwth them natively in SD. It will save you a lot of time in post.

David

Peace and Love 🙂

[David Battistella]

set up a compressor preset.

make the preset 48K 29.97 and set all of your resampling to the highest quality.

I would do a few tests to see if your clips sync-up. with this method you will have to hand sync every single clip.

Was the audio double recorded to the camera as a bakck up?

This is an egregious error if the picture was not also recorded at this frame rate.

David

Peace and Love 🙂

[David Battistella]

Please tell me how you pasted that into your post

🙂

david

Peace and Love 🙂

[David Battistella]

Set up a Compressor preset and party.

David

Peace and Love 🙂

[David Battistella]

Create a new sequence: Name it 4X3 Letterboxed Version

Apple key zero to open sequence settings

Load an SD sequence preset (DVCPRO50, DV, Uncompressed, whatever you want.

Deselect ananmorphic if it is checked in the new sequence (it should not be checked as a default)

Take your final HDV sequence from the browser and drag it into the new sequence you created, It should automatically be placed in the correct aspect of the new sequence, if it does not do this:

select the HDV sequence in the in the SD timeline and right click to “OPEN IN VIEWER” once it is open in the viewer the go to the motion tab and set the aspect to 33.33. This places it in the correct aspect for 4X3 Viewing.

Read this carefully, follow the steps and render the new timeline and you will have a correct 4X3 version in SD of your film.

David

Peace and Love 🙂

[David Battistella]

I am not sure about the software learning curve, it might be a bit dense but I am sure one can get around the controls, etc.

What you can not do in a short period of time is gain the experience of a what a good colorist brings to the table. It’s a bit like setting up a pro tools room and saying you are a sound mixer. Sure you ahve protools and you can push faders, but do you understand the frequency response of the sounds in your mix and how to really make dialog punch over effects and music. Do you get the density of the sound and how deep it reaches into the picture. You see where I am going with this.

You could learn the software and it will deepen your understanding of the effects of color, but will it bring the best to your film, maybe not on the first project you sit down to do, but probably over time.

David

OK. I’m taking the Steelers, 23-21 !

[David Battistella]

Mugs,

You can always bring in a professional colorist to work on Final touch. More and more pro colorists are using it with the JL cooper Davinci style controller.

You can set up a project so a Pro colorist comes in an does the color work using FInal Touch.

That is would be a great way to go.

David

OK. I’m taking the Steelers, 23-21 !