David Jahns
Forum Replies Created
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If the jaggies are coming simply because the timeline is interlaced, then Frame #3 and #10 would also show jaggies, wouldn’t they? But they don’t.
The difference is that Frame #3 is scaling a TIFF, and Frame #10, the QT has no scaling or aspect distortion.
Try it! Take a 24frame HD quicktime and drop it into an NTSC 4:3 interlaced timeline, and take the same clip and drop it into an NTSC 24 frame (non-interlaced) timeline, and then look closely. Do they look the same?
Yet drop a 1920 x 1080 TIFF into both timelines, and they both look great. (Or drop a 24frame NTSC clip into a 29.97 timeline (without any distortion) – and it looks great, besides the duplicated frame.)
Am I crazy? If I am doing something wrong – what?
There is no shift fields filter applied (it’s progressive footage), and the idea of vertical shifting one pixel only works when dealing with the 480 vs 486 NTSC formats – and there is no scaling involved. A pixel shift does nothing for HD to SD scaling.
I’m sure many of you have mixed HD footage into an SD Interlaced timeline, right? What did you have to do – shift fields, offset pixels – what? Tell me what works for you.
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the HD footage is progressive, with field dominance = NONE.
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To demonstrate the issue, I’m trying to intergrate HD footage (1080p24) into an NTSC 4:3 timeline. But the same issues arise with all oversized formats.
It has to do with FCP scaling and distorting quicktimes into an interlaced timeline. It’s all explained and shown in detail in that link in the main post.
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I was not able to find the article Jeremy mentioned.
I have not had an issue with captured media files, just with renders.
interestingly, it does seem to be related to duplicating sequences.
if I have a cut name version 1-4, and render files in that cut, then I’ll dupe it and rename it 1-5, sometime in the future, the render files for 1-5 will go offline, but not in 1-4. If I re-render it with 1-5, it’s stable. But then, if go to 1-6, I’ll know that I’ll probably need to re-render sometime soon…
what a pain! hope this gets fixed in 6.0.2!!!
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Ouch – yes 24fps will always be a problem to convert to 29.97, which is why they invented 23.98, eh? Sorry – I didn’t notice that part of your original post
Normally I would recommend using Cinema Tools to reconform all of your clips at 23.98 and using a 23.98 timeline. But it sounds like you’re under a deadline, so…
I’ll bet you could export the whole spot as a Self-Contained QT, conform that to 23.98, import into FCP and output that version. Of course, your timing will be slightly off, but if it’s a short spot (30, 60), it should be fine.
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I had a similar problem with my KONA LHe a while back. I had sworn I had done a 1080p24 to NTSC downconvert, but when I tried it 6 months later, it was not an option for me – like you said, it was just grayed out.
After a week of futzing around & tech support calls, I figured out that KONA drivers version 3.2 were not capable of doing the downconvert. Version 2 was perfectly capable, and I actually back-revved my drivers to do the necessary output.
AJA was no help at all, actually – they seemed just as surprised as I was that it didn’t work, and they never got back to me with an explanation. And everyone on the forums here thought I was an idiot, until they tried it themselves.
One option that seemed to work was to change your FCP Video out to KONA 1080i, which should be able to do the downconvert to NTSC, even if your FCP timeline is 23.98. I believe in this scenario, FCP is adding the 2:3 pulldown, and the KONA is just doing the scaling. I can’t vouch for the broadcast quality of this method, but it would certainly be fine for rough cuts or screeners.
Luckily for me, with version 4.0 of the KONA drivers, the 24 to 30 downconvert works fine. I can’t vouch for the KONA 3 software, but I would look at your version, and if it’s version 3, then you should either upgrade or downgrade – and tell AJA about it, too.
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I’ll agree with Russell – dupe frames are lame, and even FCP6’s “Open Timeline” is only for offline only, in my opinion – especially for interlaced formats. If doing anything for broadcast, proper pulldown is essential.
I’ve been quite happy with Nattress conversion software – PAL to NTSC and vice-versa. The interface & workflow is a little clunky, but the results are great.
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I have done exactly that Avid to FCP via EDL thing in NTSC, and it worked fine. It should work just as well with an HD 23.98 sequence, but I cannot say that I have actually done it.
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I asked this exact same question and got a lot of responses over at the SANetworks forum.
Go check it out….
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Sorry – no success as of yet.
I’m still waiting on an answer from Apple Pro Video Support.
I’m 99% sure a clean OS install and a clean FCP6 install would do it – but who has time for that, right?
Luckily, I have Squeeze, which I’m using in the meantime…