Gareth Randall
Forum Replies Created
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Sorry, I should have made my circumstances clearer. I want to be able to capture the footage on the Premiere Pros at work, then take the AVIs away on a portable hard drive and do the edit at home on my FCP. I need the original source timecodes for reconforming from the original DigiBeta tapes back at work – we don’t broadcast from DV-quality footage.
I cannot afford a Sony J30 at home, and the DigiBeta tapes are not allowed out of the building anyway.
So can anyone fill me in on the technicalities of timecode and AVI files? Is what I’m trying to do even possible, or is the timecode information stored separately from the AVIs?
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I can see that this is a brick wall situation, so I’ll stop here…
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[gary adcock] “FCP is a video editor and handles all of its content like video”
All the DVEs I ever used (back in the days when I still used DVEs) handled their content like video, and yet they all offered the option of frame-based moves. It would hardly be difficult to add the option to FCP.
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[gary adcock] “nd those systems cost 10-20x what a box of FCP Does. (iQ, Baselight, Flame) “
What about AfterEffects?
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[walter biscardi] “Interlaced renders in an Interlaced timeline. “
Actually, that’s exactly what I’m talking about. You’re still working interlaced, but effects are rendered treating both fields of each frame the same, so the motion “steps” once each frame rather than interpolating smoothly between the fields. It give the effect a more filmic motion.
Even a 15-year-old DVE unit will do it. All it needs is a checkbox in the motion menu. Okay, you can more-or-less achieve the same result by deinterlacing after you’ve rendered the motion, but that’s a somewhat less elegant approach.
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>>that would be the format you have chosen to work in<< Sorry Gary, but you haven't understood what I'm saying or what I'm trying to do. Suffice it to say that I'm used to using alternative editing systems on which it's possible to render motion effects frame-based rather than field-based. You're still generating a piece of interlaced 625/50 or 525/60 video, but the motion is updated only once per frame, not once per field. This eliminates the characteristic "videoness" of the motion. It's a commonly-used technique when making movie promos for TV. Thanks to everyone for the other suggestions; it seems that FCP is less flexible that I hoped in this regard. It shouldn't be necessary to deinterlace, nor should it be necessary to have to switch the entire timeline into "progressive" mode.
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Wow, that’s what I call speedy service! =;-)
So should I put Clip A on V3, the matte clip on V2 and Clip B on V1, or is it Avid-style, with the matte on V3, Clip A on V2 and Clip B on V1?
And which clip(s) should I apply the “travelling matte” transfer mode to? Just the matte clip?
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Yes, everything is exactly 48kHz.
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Nope. The audio on the DV tape is 48kHz.
The weird thing is, short captures (say <60 seconds) are all fine. It just seems to be long ones that have unrendered audio for some reason.