Graeme Nattress
Forum Replies Created
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AFAIK the BMD cards also do that hardware scaling – they just don’t go on about it or call it acceleration.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Old projector is where I’d suggest you start! Sounds like you’ve made good progress there. I’d also use a G Vignette too applied after the Old Projector.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Well, there you have it…….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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REC709 has a D65 white point, which is very closet o 6500k. 9300k is for the Japanese who like a different white point than we do. No idea what 3000k is for….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I don’t think compressor adds 3:2 either, does it? Do you know for certain?
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Problem with optical flow technology is that although often it’s better, the odd time, it gets worse when the visual data confounds the algorithm. This is a problem with all adaptive image processing, and often the more complex the adaption, the bigger the problem. It’s also not just slow, but incredibly slow…..
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’m sorry, but do you have any idea what you’re talking about?
29.97fps is exactly that – it runs at 29.97, or more accurately 30 * 1000 / 1001 frames per second, the field rate for interlaced video at that speed is 59.94 fields per second.
Drop frame timecode misses some numbers (doesn’t drop frames, doesn’t play at a different speed than 29.97fps) so that the timings of a clip of video match real world time as timecode cannot otherwise cope with the fractional NTSC framerate of 29.97fps. Remember, timecode, drop frame or otherwise is just a counting scheme.
When you have 24 frames per second, you don’t have any fields at all. You have progressive frames or interlaced fields, not both. (actually, you often have progressive video encoded as interlaced to make it compatible with tape formats designed for interlace and broadcast designed for interlace, but essentially, you either have frames or fields). And when you do have 24 frames a second, more often than not, it’s actually 23.98fps or again, more accurately 24 * 1000 / 1001 frames per second.
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html explains things in more depth.
The “NTSC” fractional frame rate came about in their transition from black and white to color television, and the need for backwards compatibility. To do this they added color as a subcarrier to the same luma signal that is used for black and white, but the frequency of this beat with the audio subcarrier, so they moved the video frame rate ever so slightly, by the fraction 1000/1001, thus causing no end of problems for the video editor and engineer for many years to come.
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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60i is 60 fields per second, interlaced.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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On interlace, the shutter is per-field, and as each field lasts 1/60th second, the shutter cannot be longer than that.
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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There are 3 methods I know.
1) just let FCP or Quicktime do it. It just drops or adds frames, is quick, but looks BAD.
2) my filter – field based, slow, but “good” quality
3) compressor – can be set to look better than 1 or 2 above, but to get noticibly better than 2 and without artifacts I found the render time to be 40 times longer. So unbeleivebly slow.
Obviously, I write and use 2 above, but the free watermarked demo is for you to see if the quality / speed ratio of the plugin is right for you.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP