Eli Mavros
Forum Replies Created
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Thanks a bunch Aaron!
best,
EliEli Mavros
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So when I do this conversion it makes my clips and sequences 24fps and not 23.97fps…am I going to lose sync? Should I have the color corrected footage that is being transfered to HDcam be transfered at 24 instead of 23.98? This is eventually going to SD TV.
Thanks again,
Eli
Eli Mavros
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Awesome.
Eli Mavros
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…it can’t possibly be as simple as bringing the EDL into Cinema Tools and choosing to convert it from 30 to 24…right? Do I need to make some kind of database before hand or anything? I can’t imagine I need the Flex Files, since this is never going back to the neg.
Best,
EliEli Mavros
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If your clips are not looking spectacular in the canvas, I would just do a test and export a quicktime movie and view it in QT, because I often find that it is not an accurate picture of what your final export will look like (when it comes to fields at least). If you have fast enough hard drives, I would probably use a 10bit Uncompressed timeline, though if you are not using FCP 6 you will have to render every time you make a change. The other option is what was mentioned before…export everything from compressor as a common format, ProRes would probably be great for this. I know that you can de-interlace things in Compressor, you can also add a de-interlace filter in FCP, though this might be good for your web version, I wouldn’t necessarily recommend it for the DVD version…plus, don’t de-interlace anything with type as it will be noticeably fuzzy. I would say the better bet would be to use something like After Effects and insert a pulldown into your 24p progressive HD footage (adding fields and making them 29.97) or conversely if your DV stuff is actually 24p footage that has pulldown, then you can remove the pulldown to make it 24p and match your HD stuff. I am being presumptuous by thinking that these are the two frame rate/field issues you speak of…though I guess it could be otherwise.
Best,
Eli -
This is a feature that I would REALLY LOVE as well, because when you reveal the source file and not the master clip, you loose things like Markers that you may have put on that master clip…very annoying stuff.
Best,
Eli -
No disrespect to Walter, but I’ve heard him say this same thing a lot over the past couple of years and I don’t necessarily agree. I mean, of course it would be an ideal situation to have editing-only computers, but let’s face it: it isn’t necessarily the most practical thing for everyone. I freelance all over and travel to different facilities and am constantly on a different computer and I don’t think I’ve ever been on one that strictly had editing related software (in fact, most of them have way more programs on them than I have on my personal computers) and I can’t think of a time that I’ve run into an issue that was related to Final Cut not jiving with some other software on my computer. I’m not saying that this isn’t a possibility, but my experience has led me to believe that it isn’t all that common. But that is just my two cents…but Walter has been doing this a lot longer than I have.
Best,
Eli -
Hey Jerry,
Thanks a bunch…will definitely be reading up today during my down time.
Best,
Eli -
Highlight your clips in your FCP browser window that you want to remove the Advanced pulldown. Then go up into your “Tools” toolbar at the top, and choose “remove advanced pulldown”. See if this works for you…though you should have yielded the same results in Cinema Tools. Did you bring the footage in over Fire Wire or over SDI?
Best,
Eli -
Thanks a bunch guys. A crackpot team of people over here tackled it some how…but good to know for the future.
Best,
Eli