[Graeme Nattress]

G Chroma Sharpen in Film Effects will help fix up the chroma for you. You can render 4:4:4 in FCP by using a RGB codec, like PhotoJPEG100% or Animation 100%. All effects in FCP are done in 4:4:4, but if the timeline is 4:2:2 they get converted back.

DVCProHD is only 4:2:2 at it’s 960×720 size, so it’s actually worse than 4:2:2 when you expand it back up to the full 1280×720 size, for example, so if your timeline is 1280×720 uncompressed for instance, you could see some benefit from chroma upsampling (depending on footage) even though both are 4:2:2.

Best thing to do is try and see on your footage.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Most NTSC players don’t play PAL, but if you can look hard enough, you can find them. Some will even standards convert too, which is useful if you’re not using a projector or another multi-standard display.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

I’ve only ever seen an ancient TV not be able to lock on the the 60hz and roll the picture (and that’s rare). All DVD players in EU have to play NTSC properly as they’re all region 2, and that means EU and Japan, an NTSC country.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Thanks. Actually, I do end up telling many people just not the buy my Standards Converter as if they’re in your circumstance the Cinema Tools trick will work a lot, lot better for them.

Same as if they’re wanting to convert to PAL to send a DVD to a relative – ALL European DVD players play NTSC, and most modern TVs will play it fine.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Thanks Walter.

Issue with this 24p to PAL method, is that it speeds thing up a bit, making it unsuitable for Music stuff. However, My plugins work best from 60i to PAL, and don’t really work for 24p with 3:2 to PAL as you get a visual beat of 1 frame per second due to the 24p / 25p difference.

However, if you’re shooting music that you want to look like Film on NTSC and PAL, then shoot 25p, and convert that to 60i, which actually works quite well with my plugins.

I really do hope that broadcasting goes fps independent, just like web movies are…..

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Actually, for 23.98fps to PAL, Cinema Tools is the optimal way. I always advise people to take this route for 24p to PAL conversions. It’s the traditional and best way to do it.

For the artifacting – can you either send me a picture, or put up a link to it here? Have you turned on the higher quality scaling options in FCP?

Codec – if you just want to send a data DVD and uncompressed is too big, try PhotoJPEG at 75%. Set the timeline in FCP to this, and export the movie from the timeline via “current settings” for best results.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Apple are working on a resolution independent display system for Leopard that might help with this.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Walter, I think you’re right and that a Wacom is a key thing to help editors (and all computer users) avoid repetitive strain.

After that, it’s desk and monitor height, and a good chair.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

Well, if you’re going back to DV, finishing in uncompressed doesn’t help. However, if you’re outputting to DigiBeta or DVD, then yes, finishing in an uncompressed timeline will help a bit. But that’s a pain to render in, and fills up your hard drive, so, I’d edit in DV, monitor in DV, make it look good in DV, and then bump to uncompressed at the end.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Graeme Nattress]

The issue is, I guess, you never quite know how the viewer will see the broadcast – they could even be in a foreign country and have seen it from a standards conversion. That’s why erring on the side of caution with titles and graphics is, in my view, desirable.

Certainly agreed that a decent analogue broadcast can be superb – pity they’re on the way out.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP