Graeme Nattress
Forum Replies Created
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The filter you need to use is called “G Film Converter” and it’s in the Standards Conversion pack. It converts 60i to 24p. Be sure to set field orders to upper for HD though, and it does work very well for your particular conversion.
If you have any problems, please email me direct and I’ll help you as soon as I get back from IBC.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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No, they don’t listen. No point even trying to speak to them. For slowmo, you best shoot at the highest frame or field rate possible – so 60i would be best. If you remove the pulldown from your fake 24p you’ll get better results, but you still need twixtor or something with optical flow to get a good slomo, and that’s from a super-slow render….
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Nattress and Joe’s work for certain, as should CHV and CGM.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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There are many bugs in FCP with it’s 10bit rendering and high precision YUV mode. Now, as I find them, I try to do work-arounds in my code, but either this one slipped through, or you’re using an older version. I’d have the plugin owner contact me to ensure they have the latest version, and if that doesn’t fix it, a screenshot showing the exact plugin settings that reproduce the error, and then I can try and work around the FCP issue.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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We are now shooting tests with our first sensors at 4k resolution. We’re very happy with the sensor, which, as you know, is the heart of any camera. Camera body design and electronics are progressing well, and we’ll have new stuff to show at IBC.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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You’re seeing the pretty typical failings of the DVCproHD codec, which, you must remember, is more compressed and more viscious on your video and graphics than plain old DV. If you’re mastering back out to a DVCproHD deck, nothing is going to save you from the codec, so all you can do is very slightly blur your graphics to take the absolute fine edge off them, and then they’ll compress a lot better.
If you’re mastering out to a less compressed tape format like D5 or HDCAM SR, then by all means, move to an uncompressed timeline and that will fix your graphics until they go to air and get the hell compressed out of them by the digital broadcast, at which point they’ll look bad again.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Use a reference grade LCD like Cinetal or Ecinema.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Yes, shoot normal 60i, then apply my G Map Frames filter to convert it to half speed 30p – should work great for nice, quick 50% slowmo.
BTW, there’s a lot of problems with naming formats and frame rates. My preference is 60i because 60 is the temporal rate – ie, 60 images a second, and i is the method they’re stored – interlace. To call the above 30i as some do, and I think, some people like the EBU prefer, I do not like because although the timebase is 30, ie 29.97fps for NTSC, there are 30 frame, each made of 2 interlaced fields. Now, 30i is twice as smooth as 30p, and there’s no disagreement that 30p is called 30p, so shouldn’t 30i be called 60i because it’s twice as smooth as 30p?? I will now get down from my soap box….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Field swapping can now be done in FCP – there’s an inbuilt plugin for it. To view fields in sequence, G Map Frames in the standards conversion package does it very well.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Camera is fully supported in 50i and 60i modes. It’s only the funky 24f, 25f and 30f modes that are not yet supported.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP