[David Battistella]

If you want to contact me off list then I can pull the output of that project for you. I have a beta SP deck and an up to date verison of FCP.

You can get my e-mail address from my profile.

I am in West Toronto.

David

Peace and Love 🙂

[David Battistella]

Why not use the easy setup for DV48K (advance pulldown removal). This will set FCP up correctly for 23.98 editing, with material that was captured with the correct frames removed.

David

Peace and Love 🙂

[David Battistella]

Andy,

You make a fantastic point. Increasingly, the solution seems to be to capture everything in one of the Panasonic DV/DVCPRO, DVCPROHS codecs. These codecs lokk fantastic, they consume little hard drive space, they are in the 4:2:2 color space and they render very clean. A very, very good compromise to get many formats into one project.

The M-peg based codecs are fantastic playback codecs, but completely fall apart when rendering, etc. HDV really needs to be transcoded or captured to a different codec to both save time and stand up to the riggers of rendering in post.

David

Peace and Love 🙂

[David Battistella]

Mike,

1. Is Avid now doing hardware based resolution mixing. IE, if the files are captured DV then you can just play them back in any sequence?

OR

2. Are you just importing all of the footage into a single AVID codec and editing that.

Because in the case of point number two FCP can be set up to do the exact same thing. Its is just much more flexible in terms of what codec you want to choose to edit natively in. I like this idea because, in a sense you are always working with original digital material, it has not been transcoded into something that only AVID can work with.

David

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[David Battistella]

Armin,

There are six questions in your post. Do you realize that?

Make your photoshop file the same size as the TV frame size. Actually photoshop has preset file sizes for this speicific purpose. Place the lower thirds where you want them in that frame and then import them.

You can do every one in a layered photoshop file and then after you import it, paste them into the appropriate part of your sequence.

Please be a bit more considerate. Nobody works here. we do this in our spare time.

David

Read this

https://forums.creativecow.net/cgi-bin/new_page_wrapper.cgi?forumid=8&page=https://www.creativecow.net/articles/battistella_david/good_grazing/index.html

Peace and Love 🙂

[David Battistella]

Hi,

The best way to mix ony two formats is to capture all of the sources with the same codec. In this case I would do one of two things depending on your delivery needs.

1. Downconvert everything to an SD codec and output to d -beta as you have been doing.
2. Master everything in the HDXD CAM HD codecs and pconvert your SD.
3. If you do number 2 then get a Panasonic 1200A deck and set it to upconvert all of the footage. Make sure it has an SDI board. Capture all of you SD, DV, DVCAM material to the HDXDCAM codec via SDI
4. IMPORT your HDXDCAM from the disks.

Now that all of your footage is one resolution, edit. Avoid software upconverts, it will take a lot of machine time, get the deck, it is the best way o go for the amount of material you are going to be dealing with.

David

Peace and Love 🙂

[David Battistella]

Pierre,

We are treading precariously into the area of consulting in this thread.

Capture you material, edit it, color correct it etc.

Use media manager to copy the media minus the unused material to a new project.

Advantages.

Uses less than original media
you have an edited, cc’d version that you can open later and alter.
I’d only be making the QT when the stock footage request comes in.

To my mind this is the most flexible space saving solution.

David

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[David Battistella]

I would buy the upgrade for the 49 dollars it costs you right now, if for no other reason than to preserve your license.

For example, if you do not have a universal Binary version by December 6th, who knows what Apple with charge you if you have not purchased it when you want or need to purchase it in the future.

The offer for the upgrade only runs until December 6th. If you have not purchased a universal Binary version of the software by that time, then you may face paying full price for your next upgrade instead of 49 dollars.

It involves returning your orginal install disks and filling out a form. Apple then sends you the new version, which has some nice features (like real time scopes). I have a G5, but if I bought a mac Pro tomorrow, I would want my software to work with it. That is why I bought the upgrade.

David

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[David Battistella]

Pierre,

OK.

I’ll try to address these as simple as I can. The Frame rate coverter works like this.

Everything is based on film frame rates. The “normal running speed” for film is 24 frames per second.

When you are using your HVX camera for slo motion it always comes back to 24 frames per second.

When you have told the camera to record footage at 60 frames per second the camera puts down special flags on the file to let that file know that it has been recorded at 60 frames per second.

In order to see these files you need to highlight the clip and choose the frame rate converter to have the clip play back as it was intended. If you do not run it through the frame rate converter, then FCP has no way of figuring out how the footage was shot. The frame rate converter looks at the file, determines the speed it was shot at and converts the file for use in a 24FPS timeline.

As I stated in an earlier post this means a one second clip file that was recorded at 60FPS will actually play back in 2.5 seconds after the frame rate conversion has occured.

Save all of your file in the format they were shot in. IE:24PN, 720 or 1080 or whatever you orginated the footage in. This preserves it best and you can up and down convert it as need be from the orignal file.

As a genreal rule, the file syou shoot at speed should be handled this way.

Place the files on a folder on your hard disk. Duplicate the folder and rename it as a backup.

1.Import the files
2. Apply the frame rate conversion to each file.
3. Use the files in 24fps timelines after steps one and two.
4. Media manage your projects properly and you can always open them with no compression, recompression at all.

David

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[David Battistella]

To take full advantage of this feature you need to run the footage throught the frame rate converter and place it in a 24 frame timeline. Why are you cutting in a 60fps timeline.

This is also covered in the manual if you read it.

David

Peace and Love 🙂