Gary Adcock
Forum Replies Created
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[lloSouthafrica] “We have 24p and 60 frame footage from a vericam and we need to use the 60 frame footage for slow mo’s.
We installed the Frame conversion patch for Final Cut. but it seems not to be working any help?”
Create a new project with the same settings and import only the footage you need to convert –
do not use bins and leave it in the bowser window.
Now it should convert fine.
then drag the converted files back into the other project and it should be fine.gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Mike Most] “You’re not listening. There are no flags in the stream unless the material is shot with the Varicam. They are inserted as part of the camera’s internal conversion process. There is no way to record on a DVCPro HD tape machine at anything but 60 frames. That’s how the format works.”
Mike
I was not talking about the VFR flags in the video stream or the 60fps format of the tape – on that you are totally correct.BUT we are talking FINAL CUT PRO here and actually its ability to remove redundant frames does not fully rely on the RP188 TC flags to be there when it thinks that all it needs to do is remove every 2nd, 4th and 5th frame in every 5 frames of the cadence. We can thank the original design of the app for this. FCP had the ability to extract the redundant frames (whether or not it was supposed to really be pulldown) before most people knew they might need to be able to do it.
My reference has nothing to do with the flags as generated by a Varicam or HVX200 , this is the very reason why NLE’s (like Avid and FCP) can still lay down a proper 720p24 material into the 60fps stream when recording back to DVCPROHD tape,
It is also my understanding that Avid did the same thing until the first of the year – because prior to the Jan 06 updates Avid did not support anything that did not have the industry standard 2:2 or 3:2 pulldown. (for 30p and 24p content)
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Michael Brennan] “Surely all pro cameras with HDSDI output progressive, from camcorders Varicam to f900, studio cameras LDKs to HDCs.”
Not really
the default format developed by Sony for 1080 capture is called a progressive segmented frame. It is a carry over of the interlaced SD format to that allows facilities and studios to still be able to use the new HD tools in their legacy workflow and transmission equipment. (or so that NEW J3 player can also play back a Beta tape in addition to HDCAM)
That is why the format is called 1080 24psf instead of the truly progressive version which is considered 1080p24.
Only the higher/ highest level of pro equipment can playback the segmented frames (48i) as a true 24p.
This is not to say that the PSF format is bad or somehow not possible to reconstituted back as progressive with the proper tools – it’s just that all but a few post houses or facilities have that need to justify the increased cost for them.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Paul Whishaw] “These settings handle 30pn perfectly but not 30p. Did I do something wrong or have I missed a setting? I don’t see a way to differentiate between the two formats.”
Paul
that is due to the fact that when you are shooting in the 30p mode you are actually getting 60fps laid down on the card.The Software Frame Rate Converter available from Panasonic on the 1200a Deck Support Page will allow you to remove the redundant frames and use your footage correctly at 30p (which by the way is actually 29.97)
the link is ftp://ftp.panasonic.com/pub/Panasonic/Drivers/PBTS/software/DVCPROHDFRC.dmg
THID IS NOT for FCP 5.1- the UB version of the FRC is in the extras folder of your 5.1 installer disk.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Darren] ” Has anyone actually seen what the Panasonic SDX900 (16×9) looks like, broadcasted on a consumer HD tv?”
No.
since the camera is not due to be shipping until later this year. (ask again 3 months from now.)gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Ben Cheng] “The AJA Support confirm the Kona 1.2.2 driver is fine with QT 7.1 & FCP 5.1.”
The drivers work fine but there are a few things not working within FCP after the QT 7.1 upgrade.
if you choose you use QT 7.1 please reinstall all of the your 3rd party quicktime components (ie: Flip4mac) and FCP device (ie:Kona or P2) drivers again.
Note also that you will no longer be able to open the updated 5.1 project files in other versions of FCP.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[Andy Edwards] “[sacci] “NOTE: 2hrs of 10 Bit HD would be about 1.2 GB.”
Do you mean 1.2TerraBytes? And is that DVCPRO HD? Just wondering”
1080i 29.97 10bit + 4 tracks of audio is 3 Terrabytes Per Hour
1080i 29.97 DVCPROHD + 4 tracks of audio is 53 Gigabytes Per Hour
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[doccutter] “Using the “capture now” function of FCP, you can capture live to hard drives, and FCP will pull out the redundant frames as well, leaving you with 24p or 25p footage.”
Careful on that.
FCP cannot always properly remove the pulldown when using “Capture Now”
While it may see the first frame of the capture as the “0” or “5” frame that need to be removed- when you get to the Out Point FCP has no way to calculate how or where that closing frame of the cadence should be, if that is the case then FCP cannot produce an end of the pulldown removal – it is common for FCP in this situation to leaves the clip at 59.94 rather than the 23.98 one expects.this is not possible at all with 25p footage as the 720p25 EU specification is not currently implemented in Final Cut.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[dluxman] “one thing i did notice with the P2 folder is that some of the folders were missing the “LASTCLIP.TXT” file. “
this file is also needed for FCP to be able to read and import the footage.
[dluxman] “hope something works. if this error is likely to occur in the future, i am really reluctant to use the P2 format.”
Understanding a new format and methodology requires time and investment in learning a new way to work. You need to look at Barry’s or Shane’s workflow advice and rethink the way you are working.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com -
[xstimux] “I tried forcing FCP to capture 23.98 with the 720p24 setting”
did you set in and out points?
it will not work with capture now — there is not a way to determine a cadence end point without having an in and an out set during capture.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
Chicago, IL
gary@studio37.com