Graeme Nattress
Forum Replies Created
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Juan, that’s the totally correct workflow! Remove the pulldown in CT and edit everything on a 23.98fps timeline.
My little plugin will help if you shot a small amount of 24pA and you want it on a 29.97fps timeline. I don’t think it’s too suitable for this workflow situation.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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FCP itself does not allow the creation of super-black, and I don’t know if it’s possible to write a filter to catch it. I can certainly try if you have any superblack footage that you could send me. Working with purely digital video, I’ve never seen superblack video ever on my FCP set up.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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If that gets too fidly, you can also try the “G Lines” plugin in Set 1 of my plugins: https://www.kenstone.net/fcp_homepage/review_g_plugins.html
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Because they didn’t think of it at the time they invented the DVCProHD1080i codec!! Yes, I know, very short sighted of them. Would be nicer still if Panasonic also included a no pulldown frame option for the 24p mode, but using the PhotoJPEG codec instead if they don’t want to do changes to the DVCproHD codec.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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It’s semi possible, and is actually done for restoration purposes. Many old TV shows were made on video, but only kept as film prints. In the process of making the film print, the video gets de-interlaced. To bring back the video look to the shows, they are re-interlaced.
Basically what is done is Twixtor is used in After Effects to slow the video to 50% by making all the in-between frames, and this is then sped up 200% with each of those frames getting mapped to a field in the finished video. The end results can be seen on the recent DVDs of Dad’s Army and black and white episodes of Doctor Who. See https://www.purpleville.pwp.blueyonder.co.uk/rtwebsite/vidfire.htm
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Check the results on a monitor, and it could look better, and make sure in FCP5 scaling is set to high quality.
Because you’re throwing information away in the up-scaling, there’s little that can be done. I am working on an enhanced scaling solution, but it’s taking longer than I thought…..
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Both DV50 and DigiBeta are 4:2:2 and lightly compressed. DB is 10bit, whereas DV50 are 8bit. DB is slightly less compressed. As to whether you can see the difference on broadcast is very debateable.
DV50 has the advantage that you can edit it native, which saves hard disc costs, and you don’t need an SDI card.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Check out my Standards Conversion plugin http://www.nattress.com which will do a nice 60i to 24p conversion for you.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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BetaSP is about 3/4 the resolution of DV, and because it’s coming from a digital source, mixing analogue artifacts in with the digital ones is going to produce a worst of both worlds situation. DV will best preserve the DV50 quality compared to BetaSP.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’m back in town, but I’ve got a trapped nerve in my neck, so I can’t type very well, or for very long.
Out of sync output is usually that the timeline is not set to the right settings. For a PAL to NTSC conversion, the timeline needs to be NTSC, with 29.97fps. If it’s not, you’ll be way out of sync.
Try that, and get back to me if that’s not it. Only other thing is that there’s an in-point set on the clip, and you’ve got the nesting option set incorrectly.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP