[David Smith]

Thanks for the clarification,

Just to confirm this before I buy:

If I buy any lens from the Rokinon series – except the the 16mm – I would have to do convert the lens size from 35mm full frame to the BMCC sensor to get an idea of what the correct angle of view is.

But with the 16mm lens. I should convert it from 16mm APS sensor size to to the BMCC sensor size.

If this is correct than the 24mm Rokinon on the BMCC with a 2.4 crop factor turns it into a 10mm lens;

And the 16mm Rokinon on the BMCC with a 1.6 crop factor turns into a 10mm on the BMCC camera too.

So on the BMCC both the 24mm and the 16mm would basically have the same angle of view… do I have the math correct on this??

Thanks!

[David Smith]

Thanks for the reply,

This is what is confusing me though: This is in the description for the 16mm lens from the Rokinon website:

It is designed for camera with cropped APS-C image sensors.

And then in gives angles for APS and 4/3 lenses but doesn’t say anything about full frame.

And yes, you are right. I need to factor in the lens size if the “16mm” is for a full frame.

[David Smith]

[Dave LaRonde] “How are you looking at it: on a computer monitor or a video monitor?”

A computer monitor.

Basically it’s nostalgic old stuff I will want to look at in the future (and I don’t own a video monitor anymore)

I “de-interlaced” it and that got rid of all the horizontal line artifacts. I did that in Compressor.

But what does “de-interlacing” do? The clip I did it to still says it has a bottom field dominance. So I’m not sure why that helped.

Since I don’t own a video monitor anymore. Should I convert all the camcorder stuff to 30p? (Or would actually be 29.97p?)

Like I said, I just have all these old VHS tapes and I’d like digitize them so I can do stuff with them in the future. Post to YouTube, make Quicktime files to play on the desktop, burn DVDs.. etc.

I’m not sure what the best workflow would be.

Thanks!

[David Smith]

Thanks for the response.

The test clip in question was a store bought Universal feature film. So reverse telecine would be possible… but, I was just using it as a test.

Most of the stuff I want to shoot was shot on camcorder… I’ll do a test with some of that and report back…

Update: It does it as well with stuff shot on camcorder.

I’d like to try and capture on FCP7 but I couldn’t get the setting right. Any idea if I can capture with FCP and a Blackmagic Decklink Studio 2 card?

[David Smith]

[Joseph Mastantuono] “30p though should be easy to covert to 2997 in compressor”

I realized this was on question I had not asked.

Is there any “damage” done when converting 30fps to 29.97? Or 29.97 to 30.00?

I did some tests and I could not see or hear any difference. I don’t have enough experience to know if there may be any problems here though.

[David Smith]

The HD link might be the weak link.

I can always hook up my grading monitor to my graphics card if I want to do FCP editing with 30p I suppose.

This does lead to my ultimate question:

If I’m recording stuff from computer using FRAPS that I want to keep for nostalgic purposes – for 10,20,30 years… etc. Should I do it in 30p or 29.97?

I’d watch it on my Computer and DVDs… although DVDs probably won’t last that long.

I’m just wondering if I do 29.97 if that might cause viewing problems in the years ahead?

Any suggestions?

Thanks 🙂

[David Smith]

[Doug Beal] “your grading monitor wants to see an NTSC signal”

I’ve always thought NTSC monitors are CRT. My grading monitor is LCD but it is hooked to the computer using a SDI > decklink card > HD Link Pro > display port cable and IN.

Does that connection make it NTSC?

[David Smith]

[Robert Houllahan] ” so legacy SD material can be up-rezzed to 1080i without cadence issues”

I guess that makes sense. Thanks for the answer.

Another question in the same area:

Over the weekend I recorded some stuff off my computer using FRAPS. I had the choice of 30fps and 29.97. I chose 30fps.

The problem I had was when I put in in FCP7 I could not play it to my grading monitor through my decklink card. In the Audio and Video settings I could not find a Blackmagic 1080p 30fps (or 60fps) setting.

Is there no 1080p 30fps or am I missing something?

Thanks

[David Smith]

[Michael Gissing] “When it goes back to film, everything will run .1% faster which is of no consequence for pitch”

Thanks for all your help!

Just curious. If audio is slowed down .1% does that affect pitch?

I’ve always been curious if you slow down or speed up an entire project by .1% if it has any negative impact on the audio and video.

[David Smith]

[Michael Gissing] ”
It is just purely the frame rate per second”

Ok thanks! It sounds like I was making it more complicated than it needed to be.

Now I can ask my more meaty question:

I shot 90 percent of a 16mm feature film some years ago that I now want to finish the last 10 percent on HD.

The film was shot 24fps with sound. I may go back to film after editing.

The film has all been scanned to DPX files. I’ll be using proxy ProRes for editing in FCP7 but finish in Resolve with the DPX files.

When I shoot new HD footage, I will record sound to an external recorder and sync later.

The old audio was recorded 44.1 16 bit. And the new audio will be recorded 96khz 24 bit – all he old audio has been upsampled to 96hkz 24 bit already.

Since I may go back to film should I shoot the new HD footage at 24 fps? Edit in 24fps. Then when I’m done with the edit just slow the entire movie down to 23.98 for use with everything else except the film version?

Are there pit falls in transcoding picture and audio from 24fps to 23.98 and visa versa?

Thanks in advance again!