Gary Adcock
Forum Replies Created
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I am really sure you are treading in unknown territory– Hire someone to guide you. I cannot believe how many on these lists think that you can “just do it” in FCP and find out they are way over their head.
I try not to make assumptions about how to handle footage sight unseen. Too many do that here.
Find a good tech in your area and hire them for a day to explain this process — the 24p craze has left more people lying in the dirt tearing their hair out than you can imagine. It is not plug and play -especially when there is more than one person doing the shooting and editing.gary adcock
Studio37
HD and Film Consultation -
[chris] “First I was wondering if there is any way to save a FCP5 project so that FCP4.5 can read it. “
File > Export > XML > Interchange Version 1
[chris] “I have the rough cut on a firewire drive with all the media captured and the sequence settings at 29.97. My question is… Did the original editor have to use Cinema Tools to get it to 29.97 or can FCP4.5 capture 24p and convert it to 29.97 on the fly so to speak. “
the original editor was lazy and did not dig the footage for 24p, they only used the DV footage as is.
gary adcock
Studio37
HD and Film Consultation -
[Scott Allman] “What can I do to make things compatible. Is there a Cinewave codec that I can move to the new system from my old G4. “
Use the Kona 2Vuy codec for the seq settings and the cinewave files will play just fine.
There is NOT a preset for this, you must create a new Seq with these settings
gary adcock
Studio37
HD and Film Consultation -
[John Byrne] “1. My biggest quandry is which project to choose. The most obviously relevant projects types are “23.98 NTSC” and “720p/23.98″. Both of these work – so which is the most appropriate?”
720p 23.98 will keep you in HD and allow you the greatest flexibility later. it keeps you in the Native DVCPROHD format
[John Byrne] “The most obviously relevant projects types are “23.98 NTSC” and “720p/23.98”. Both of these work “
well one is SD and One is HD the HD is still progressive[John Byrne] “The two decks on offer are “1200A 24p” or “1200A 60″. The 24p does not work in the 23.98 NTSC project. The 1200A 60 does.”
Doh… one is 23.98 HD that needs progressive HD displays that your avid may not have. the 60 version is giving you a “more” NTSC compatible format that is playing out at 29.97 — remember that 24p footage does appear to strobe when playing back if you are not working on something that adds the 3:2 pulldown back in.
[John Byrne] “What sync should be fed to the NLE? 23.98 or 29.97. Won’t both projects natively be working in NTSC and therefore need 29.97 reference?”
HD needs a Tri level sync signal —
gary adcock
Studio37
HD and Film Consultation -
[Danrnw] “I don’t want FCP, when I stop a capture or the capture
fails, to then change my 05 to an 06 or whatever in the description area of the logging window.”You can use Letters instead…
then you will not have those annoying numbers to deal with….
gary adcock
Studio37
HD and Film Consultation
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[Post Office Video] ” I work with uncompressed betacam footage, DV via firewire and animations with alpha and it all mixes & plays in real time in a Cinewave timeline without conversion,”
I’m sorry guys but I do not understand why you would add DV25 captured footage to 10bit UC when you are given the tapes to digitize. I believe that less than 25% of you are using shared storage so you are not sharing content amongst multiple users. This is a bad workflow, and it will cost you something some time.
and I am able to playout animation codec files w/ alpha on my G5 in an FCP 8bit timeline in RT — but I still render everything before lay to tape.
gary adcock
Studio37
HD and Film Consultation -
[Rob Bygott] ” is there any noticeable loss of quality with this on-the-fly compression using the Kona 2 card?”
NO none- I have done extensive tests on this and currently IMHO only AJA can claim that their SDI – DVCPROHD conversion is as good as the one in camera.[Rob Bygott] “Also what data rates is it being recorded at? Is it similar to the firewire transfer or is it more like the HD SDI transfer?”
you have both options when working at 25fps on the Kona 2- using the DVCPROHD codec (about 7mgs a sec) or UC (47 mgs a second) when capturing the content. I only use AJA hardware, but I am sure that BMD does have settings for 1080 | 25 — I do not know about 720p25.
gary adcock
Studio37
HD and Film Consultation -
[tony salgado] “One Major difference between 27F and 27H is 10 bit versus 12 bit. “
tony
this is only an issue for live capture from the camera – the info laid to tape is still only 8bit.
besides other than D5 or SR series decks- name one that can record more than a 8 bit signal to tape.gary adcock
Studio37
HD and Film Consultation -
[Rob Bygott] ” without any question of doubt – as to whether FCP5 does in fact support editing a 25fps timeline using the DVCPRO HD codec.”
no it does not.
Many 3rd part cards do ( Aja’s Kona 2 does a SDI – DVCPROHD conversion on 25FPS on the fly)the varicam is based on 24fps content .
gary adcock
Studio37
HD and Film Consultation -
[Rob Bygott] ” without any question of doubt – as to whether FCP5 does in fact support editing a 25fps timeline using the DVCPRO HD codec.”
no it does not.
Many 3rd part cards do ( Aja’s Kona 2 does a SDI – DVCPROHD conversion on 25FPS on the fly)the varicam is based on 24fps content .
gary adcock
Studio37
HD and Film Consultation