Jake Huddleston
Forum Replies Created
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Hi Dave,
Hmm, that does make sense. I wouldn’t have done the pulldown this way, except for the fact that I found a thread with a bunch of people praising the method used. If you want, you can skim the thread here at HV20.com (a great forum for my camera, the Canon HV30):
https://www.hv20.com/showthread.php?14476-Removing-Pulldown-AFTER-Editing-Using-CS3
They apply a script to the footage (I don’t know if that changes anything), and not once did I read someone pointing out the problem you just pointed out. So if they all are in fact, wrong, I feel somewhat mislead.
The slow-mo process you described is basically what I’m doing. However, like I said before, the clips are already in a comp, and I can’t change the clip settings once they are used in a comp, only beforehand to the source clips in the project panel.
Let me know what you think of the explanation on HV20.com.
Jake Huddleston
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Hi Dave,
Haha, I was afraid someone was going to say something like that. *sigh*. Yes, I knew from the get-go that shooting in 60i was going to be painful. I knew that I was going to have to sacrifice half of my vertical resolution. My camera is a Canon HV30, and it does not have the option of shooting progressive at higher frame rates than 30p. But the idea for my film HAD to have slow motion elements in it, and therefore, I was willing to make the agonizing sacrifice. However, if I do say, I have actually found a decent way of removing pulldown from my 24pf footage. Nonetheless, you say ‘real old school, What do I know?’ Well, my guess is, a lot, or you wouldn’t be helping people out on this forum!
Now, you seem mainly disappointed that I have to sacrifice the quality of my film. I have come to terms with it. My real question is, can I change the ‘interpret footage’ settings of a clip once they have been used in a comp? This is the main thing I need to know right at this moment, no matter how the quality of my project turns out.
And just out of curiosity, you mentioned I didn’t observe the basics at the time of shooting. Enlighten me on the specifics? That would be awesome so I don’t do it again. As said before, my camera only has 24pf, 30p, and 60i filming options, all in full HD, no 720 or progressive-scan options for slow-mo, but slow-mo was essential.
Thanks for all your help. This whole thing is a major learning experience for me.
Jake Huddleston
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Okay, that’s beginning to clear things up. Because when I click on a clip in the Project Panel, I can go to ‘File>Interpret Footage>Main’ and change the settings. However, if that same clip in the Project Panel has been used in a comp, I can got to ‘File’, but ‘Interpret Footage’ is grayed out and won’t allow me to change anything.
Now, you say that since my comp originated as a sequence in Premiere Pro, I may need to change the clip settings there before converting the sequence into an AE comp? I guess I’m not sure where to begin, but I will try to figure it out. I hope that, for instance, changing the frame rate of a clip doesn’t affect the footage if it is edited on a 60i timeline within Premiere. I will try to figure it out and come back if I have any more issues. Thank you for your expertise!
Jake Huddleston
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I’m not sure if you understand my question…my footage is already integrated into an AE comp. All previous instructions I’ve read say that my ‘Interpret Footage’ settings need to be set before placing it in a comp. Is this true? I don’t care about changing the ‘Interpet Footage’ settings individually within the project panel…the point is, my clips are already being used in a comp. Can I still change their ‘Interpret Footage’ settings? I tried doing this, but it did not transfer to the clips if they were already in the comp. It still rendered out unchanged unless I then placed that clip into a new comp. Does that make sense? I need to know if there is any possible way to change these settings once a clip is already inside of a comp I am working with.
Jake Huddleston
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Ok, I’m just beginning to learn about pulldown so the dynamics of it I still don’t quite understand. So after removing pulldown from the 24pf footage, it is now true 24p, but playing on a 60i timeline, and that doesn’t work…(?) My main issue is trying to find a workflow that works with the footage I have and the processes I need to do.
I don’t necessarily have to see my pulldown changes in Premiere. It was just the most convenient. In the end, my final project will be dynamically linked to AE, where I will remove pulldown on 24pf footage, deinterlace/convert 60i footage to 24p slow-mo, change the comp settings to 24p, and then export my final project. As far as I know, this is how I would get a 24p export after editing in a 60i timeline in Premiere.
Jake Huddleston
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Hi Tim,
I see what you’re saying. The footage came from a Canon HV30, which, from my understanding, does something like record in 24p, but then puts it into a ’60i wrapper’, which means pulldown removal is needed. Correct me if I’m wrong. I get most of my info from HV20.com, which is a pretty valuable resource for my camera.
Yes, I am editing in a 60i timeline, with both the 24pf footage and 60i slow-mo converted footage, with the intent of removing pulldown from the 24pf footage, and deinterlacing/converting to slow-mo all the 60i footage in AE, and then rendering out my final project from there.
I was just testing out Dynamic Link and seeing if the pulldown removal script I’m using in AE really worked on my footage, and I couldn’t view it in AE because it won’t render the whole clip. I think what you’re saying is that the converted footage is no longer 60i after my process within AE, and therefore will not show up/play correctly in the 60i Premiere Pro timeline?
Jake Huddleston
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Ok, great. That definitely gives me some helpful stuff to look into. However, I still am having trouble just getting a quality export resolution-wise, and I don’t know what is the matter. There doesn’t seem to be much info out there on FCE high-definition rendering, but I will keep looking. It’s just giving me a lot of trouble and it is very frustrating.
Jake Huddleston
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Yeah, I talked to my friend about my problem, and he said that he had a very similar problem. He mentioned Compressor since Final Cut Express’s settings just don’t seem to cut it most of the time. However, the reason I use Final Cut Express is obvious…I can’t afford Final Cut Studio at this time. So…I may need to find a friend with Compressor and utilize it. I would have thought Final Cut Express’s settings would be sufficient. Little disappointed, but I’ll manage. Thank you for your help, I’ll try your suggestions before giving up and using Compressor.
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Thank you. Got it sorted out!
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Theo,
I am not sure what Excalibur is, but my question is, CAN THIS PROBLEM BE SOLVED WITHIN VEGAS? Thanks for the suggestions, but I just want to know if there is a default option or setting that I can use to fix this. Thanks.