Graeme Nattress
Forum Replies Created
-
The slow PAL method described is interesting, but I have no idea of what exactly they’re doing from the description. FCP only adds real 3:2 pulldown on playout. I think they’re using compressor to de-interlace the video, but I’m not sure. It’s nice to read this kind of tip, but surely they could do better with some actual explanation of the method and how it works before getting you to follow along a recipe?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
At 100%, PhotoJPEG is RGB. Your video is YCbCr. Quicktime has “problems” with gamma shifts when converting between RGB and YCbCr. FCP, for the most part is pretty good, hence the differences. My advice – use PhotoJPEG75% which is YCbCr.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
I’ts not more difficult to calibrate a monitor to a zero IRE analogue signal. The Japanese have no problem, and Europeans never have an issue.
If you calibrate your monitor to a 0IRE signal and use that as a reference for making a DV master, that DV master, if played back on a deck that adds setup, to a monitor calibrated for setup, will look identically good. As long as you’re calibrated you’re fine. It’s not as if you make and master an NTSC TV show in Japan, it suddenly looks wrong in North America because we still, stupidly, add setup on our analogue signals. As long as you’re calibrated, you’re calibrated!
HD uses no setup. Digital video uses no setup.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
It’s not necessary by any means to add setup to analogue DV monitoring. You must always calibrate your monitor to your deck or camera, and tha will take care of things. Basically, the deck, if it adds setup, will add a voltage to the analogue signal, which the monitor will remove to get it’s black levels black on the CRT. If you don’t add it in the deck, you just calibrate the brightness control (more accurately described as black level) to not remove what you didn’t add – end result, is that the calibrated image would be identical.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
Thanks. One of the pieces of test footage I use is some film telecined to PAL, and it works superbly well on that, so I think you’ll have great results going from cf25 to NTSC. Tell me how you get on, and email me if you need me.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
I think you need to try it with the proper 4-6pin cable avoiding the AtoD box before you go any further down the troubleshooting path.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
For 25p, which is nearly what cf25 is, you have a few options:
1) slow to 23.98fps, add 3:2 pulldown to go to NTSC. (You’ve got a 4% speed change though). You can use my converter to add 3:2 pulldown to your 24p.
2) use my converter. It converts real 25p great, works with HDV and the NTSC should look super!!!
3) use compressor 2 at high quality mode, and wait 13 years for the conversion…..I’d pick option 1) if sound is not important to be perfect pitch, or 2) otherwise.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
Ah, I see. Music videos are tough.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
Only way to learn it is to use it. Avid Xpress Pro only has HD on the PC version at the moment – happy using PCs?
If you’re just doing straight cuts, with an online media HD workflow, there should be nothing in it. All should work just fine.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
But by making “film” run 4% faster is how it gets converted to PAL, and the same applies to 24p video too. Doing as I describe will produce the best quality conversion to PAL.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP