David Lunday
Forum Replies Created
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Rafael, I understand the concept of not wanting to compress too many times as it will degrade the quality of the footage. However, it also seems that if my 720p clips are never going to get any better resolution then why am I needing to convert these up to the better codec (apple prores 1080p)…the reason for going up to 1080p is because I have a few shots which are HDV 1080p24 at 23.98fps (but only about 10 clips). But it seems like it might make more sense to transcode those clips down to DVCPRO 720p to actually match the quality of all the other 720p stuff and THEN uprez everything to 1080p at the very end for my final output. Again, if the quality of the 720p stuff is not going to get better than why not convert the few shots of the higher resolution to match it??
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Rafael, I may decide to do that but I really just want everything to match right now so I can send the film to post so they can finish the audio mix..then I have to send to color to finish and was thinking it would be best to transcode to my final after color..or maybe right before sending to color…I assume you can transcode something more than one time??
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Matt, yeah I tested the clip in QuickTime and it is 24 frames now exactly! I’m not really aware of what interpolated frames look like but nothing seems out of place…plays just like the original except at 24 frames….SOOO relieved! So I think that’s it unless something else comes up…I will of course test on a DVD when I get everything cut back in…Now I just have to figure out how to transcode the HDV 1080p24 shots that are also in the film…there’s only about 10 of them though..I just put up a new post about it today if you want to take a look at it. Thanks Matt!
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Matt, ok, I THINK I figured it out. And actually it was from an old post that Shane Ross put up a few years ago. You can check out that posting here if you want: https://forums.creativecow.net/thread/8/996101
When you say redundant frames are you referring to the 59.94fps footage? OR, are you saying to take all the original 23.98fps 720p60 footage and put it through compressor to encode it with 720p24 to remove the redundant frames you are referring to? If that were the case then it seems I would just put the entire sequence through compressor with the 720p24 encoding.
Well anyway, this is what I did in compressor…I simply took one of the 59.94fps shots (with it’s compression being 720p60) and encoded it with the 720p24…which of course turns it into 23.98fps…then just put it back into my sequence over the old clip so it matches all the other stuff…and of course I would do the same thing to all the other clips which are still 59.94fps. Is this what you were referring to?
The thing is, all of the footage (both 24.98fps and the 59.94fps) mixed has always looked fine together on the timeline..which is to say it has always looked 24fps (like film)…and so it seems like there would be a fairly simplistic way to convert one or the other…still trying to get the hang of this stuff…
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Well definitely BluRay and DVD…but I also want to enter into as many film festivals as I can…not sure what they require exactly, I do need to look into that…you might know better than me…may need to uprez to true 1080 too? So I would like it to be seen in theaters as well as BluRay/DVD
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Hey Shane, I have always intended delivering at 24fps (that’s what my editing time base is set at, as 23.98)…which is what I’ve been using for the post work as well..ADR etc. with of course my codec being DVCPro HD 720p60. I tested 3 different shots last night, converting 59.94 to 24fps BTW…one looked great, one other looked pretty good (passable probably), but the third looked terrible..was a pan up shot of a moving car with lots of daylight…literally looked like a strobe light! If I could just get the conversion better! And I’m supposed to be sending a mov file for a conform (I made some additional cuts recently, which is now THE FINAL version of the film) to the post studio…and I don’t know how much it will affect the audio sync if I were to now export it in QuickTime conversion at a higher frame rate (59.94) since it seems to look better that way…yes there is some slight ghosting with the 23.98 footage having to duplicate frames but it looks better overall I think….the whole point of shooting at 24fps is to have it look more like film, which I much prefer..so obviously I really wouldn’t want to convert all my 23.98 stuff up to 59.94 because then I would lose that
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OK guys, sorry to jump on your thread here but I am having the exact same issue here!…if this is not proper Forum etiquette just let me know…is my first time here. BUT, I have a feature film here and I’m having issues with my output that I’m supposed to be sending to a studio for finishing SFX, final mix etc. I noticed Shane had said that you can have shots with different codecs on the same timeline as long as they are FCP compatible, which all of these seem to be. MOST of the footage is DVCPRO HD 720p60 with a Vid Rate of 23.98fps. But then (and I think this is my issue with some jitter problems on my exported video) there are also some shots that were also DVCPRO HD 720p60 but at 59.94. But then our B camera has a codec of HDV 1080p24 at 23.98fps. So I will have to convert these then for my final output correct? If so, what should I convert everything to?
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Dave, in FCP, there actually isn’t a frame rate column but a Vid Rate column with the Compressor column right next to it. And as I said in my first post, the Vid Rate is in fact 23.98fps with the compressor being DVCPRO HD 720p60…HOWEVER, there are some clips that the camera man had the Vid Rate at 59.94fps…but the VAST majority of the shots were done at 23.98fps…but maybe it’s just these few clips at 59.94 on my timeline that is making the jittery, frame drop stuff happen every once in a while…because I’ve noticed it’s not at the exact same shots everytime…it’s a kind of general jittery stuff every once in a while…maybe every minute or two.
My biggest issue for now anyway, is that I REALLY have to get this reference video of the finished film off to the studio so they can do the sound FX and final mix…so I need to get something to them NOW…and I think I can still send them a less than perfect video (that still has some of the jitter stuff happening) as the time code in relation to the video will still be synced properly?? Isn’t this correct?
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Great, thanks for the info Dave! I think I understand that pretty well…although it was actually the DP’s camera so…are you saying then to change the fps to 59.94 in the QuickTime conversion window? Instead of 60 like I did? I actually exported the entire film last night at 60 and it looks pretty darn smooth..with the 24fps look still there of course…I put it at 60 obviously to match the compression of 720p60
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Yeah an OMF seems like a lot as far as organization and track cleanliness…I would prefer not to have to send an OMF except for the final music stereo mixes on my FCP timeline. Curious as to if the EDL conforming software will actually cut out the audio that is not there anymore in the new edited version or if it just tells you what needs to be cut and you have to do envy thing by hand??