[Graeme Nattress]

Avoid composite. Shooting HDV will be fine, as you can key in HD, and then downsample to SD, which will make any keying errors 1/4 of their size.

Graeme

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

[Graeme Nattress]

PAL and NTSC don’t exist in digital video, really. They’re analogue formats. All production work in Brazil is done in NTSC and it’s at the point of broadcast where it goes out as PAL-M, similarly in France with SECAM, production work is in PAL, but at broadcast it goes out as SECAM.

PAL-M is 60hz, 525 line, so it’s only the colour encoding that’s PAL like. The rest, the majority, is NTSC like.

(I’ve resonded with help in an email on the converter issue, but the above is good to have in a public forum).

Graeme

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

[Graeme Nattress]

If it’s 25p with no interlacing, there’s no need to deinterlace. Just head to Cinema Tools.

Graeme

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

[Graeme Nattress]

Thanks David!

Yes, you can de-interlace, then add 3:2 pulldown. To deinterlace, pick your favourite. I use the G Smart Deinterlace from Film Effects.

I’d export that out as a movie, then take to cinema tools, to slow from 25p to 23.98fps via conform. To get 3:2 pulldown, you’ve got to either play out to tape, or I’d use G Film Converter which adds 3:2 as a render process. Works great.

Graeme

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

[Graeme Nattress]

Yes, Peter was the original requester of that plugin. There’s also G Map Frames in the Standards Conversion pack.

Graeme

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

[Graeme Nattress]

You could try the one in my Film Effects set of plugins for FCP – http://www.nattress.com and see if that suits your needs?

Graeme

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

[Graeme Nattress]

As you’ve found out, FCP won’t let you nest 23.98fps into 29.97fps. Also, if you have a 23.98fps movie, FCP won’t convert it to 29.97fps properly when you put it into the sequence. FCP only adds correct 3:2 pulldown on playout to tape, if at all.

So, solution is to add 3:2 pulldown either by outputting your sequences to tape – via a Kona or BMD card, or over firewire to DV. Or, use one of my plugins in the conversion pack to do it as a render process. You’ll have to make a movie of the sequence you wish to convert, then you can render in correct 3:2 pulldown.

Graeme

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

[Graeme Nattress]

To get to a good PAL, you’ve got to get back to the 24p media. The conversion to 29.97fps was done wrong, it sounds, and adding the filters to “fix” is not going to help.

There’s no standards conversion that can fix this kind of thing. You’ve got to get back to the 24p media in a 24p timeline, then a PAL transfer is as easy as a quick trip to cinema tools.

Graeme

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

[Graeme Nattress]

You probably can’t correct it. The information is missing. You might have to tell them to re-dub the tape, this time taking care to ensure all three cables are connected properly 🙂

Graeme

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

[Graeme Nattress]

I emailed Alex to suggest field order issues – they’re the biggest cause of jerks and asked a few questions on the nature of the source footage.

Graeme

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