Graeme Nattress
Forum Replies Created
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1/60th shutter is what video is normally shot at. Shooting at 1/30 will probably, depending on camera, put it into a fake progressive mode that might just look crap. The most “open” shutter you can have shooting 60i is 1/60th, where each field is lasts 1/60th second and is fully exposed.
In de-interlacing you can adjust the use and balance of the two fields and blend to either give 30p with 1/30th shutter or 30p with 1/60th shutter (ie 180 degree shutter) or somewhere inbetween.
Might be good to experiment to get the look you want.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’ll have to try when I get home. I tested PAL to NTSC and NTSC to PAL and it was just the same “drop the frames” conversion FCP has always had.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I don’t think FCP does a 1080i60 to 720p60 conversion. It’s quite tricky. I can sorta do something with G Map Frames from the conversion pack though. The new universal timeline is cool, but it still just drops and duplicates frames for it’s conversions.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’d deinterlace and then set the 1080i timeline to field order none, and then nest into the 720p timeline and render, with high quality motion scaling turned on in the sequence tab.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Cinema Tools will get you from 25p to 23.98fps with zero quality loss or gain – it’s transparent. All you then need is a de-interlace. This all adds up to make the conversion very fast and very high quality. You do, however, have to put up with that speed change of ~ 4%.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’d recommend, because all European players play both NTSC and PAL and only very few North American players play PAL:
Master for NTSC 24p DVD, ie 23.98fps.
Take the 50i to 24p via deinterlace, then slowdown using the “conform” option in cinema tools from 25p to 23.98fps.
Convert the 60i to 24p (and here I’d use my converter plugin)
and then export your 24p NTSC movie, take to Compressor, tell it to make it MPEG2 for DVD and it will add in the pulldown flags. That resulting DVD should play fine in both NTSC and PAL land.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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HDV is a touch slower to deal with, but can get a bit slow for rendering back to. If you’re doing an offline with it, I doubt that would matter too much, but for people who wish to go back to HDV tape, it’s a right pain, and indeed, in that situation there’s no easy way around that aspect of HDV.
As you’re shooting HDCAM, for offline purposes, going to DVCProHD is fine as long as you recpature it uncompressed for the online. It’s not good form to use the offline media for the online as you loose some resolution in the process as DVCproHD has a samller frame size than HDCAM.
I don’t think recaptureing HDV is a pleasant tast due to the consumer nature of the format, so if you can just keep that native and not recapture for the online, that’ll be good. You can do that now that FCP6 can have multiple codecs on the timeline, so you could have a prores timeline, and put HDV and DVCProHD on it for offline. At online, make the timeline uncompressed, recapture the HDCAM and go.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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There’s a couple of misconceptions there:
“just wanting the extra quality of the DVCPro HD codec” – but you’ve got two issues here. First, you’ve recorded in HDV therefore any “damage” has already been done. Your video is HDV quality as that’s what you’ve recorded. From now on in, all you can do is make the image worse, not better and at best, keep the quality as good as it is on the master-tape. Second, the quality of DVCproHD, if better than HDV is only slightly, and indeed, in the case of 1080i, it’s quality could be said to be worse due to it having lower resolution.
The most efficient codec for HDV is, you’ve guessed it, HDV. Just capture and edit native. Apple got this right and it works well. In FCP 6 you can even render to the nice prores codec and therefore avoid the damaging effects of rendering back to HDV.
Of course, if you’re mastering back to HDV, you’re resigned to that render back to HDV anyway and it’s un-avoidable. If you’re going out to a wholly better format – D5 or HDCAM SR, then save of going fully uncompressed in the timeline, prores will give superb results.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I find them very nice for FCP and everything I do on a mac, even programming….
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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2.5.1 is fine, but email in and we’ll get you the upgrade. Fixes a couple of bugs. Just need enough info for us to find you in our database.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP