[Jeremy Garchow]

I understand that you are trying to preserve the very best quality. You are using a version of component instead of composite. That will give you much better results.

Now, you just have to capture it in a way the FCPX (or any NLE) will want to use it, and that’s with a standard frame rate.

Whatever the conversion box is doing, it’s bastardizing the timing in to a non “TV” standard that most NLE’s expect.

You can run these files through compressor, with the setting of “so source files play at 59.94” and have a legitimate video file that will work much better in any NLE.

In the General tab of compressor in the “Retiming” section (after you have setup a 59.94p output) use the option “so source frames play at 59.94” to avoid any motion artifacts. This will be a 1:1 frame conversion with a proper 59.94 timing.

[Jeremy Garchow]

There is speed control?

Hit the “T” generate button in the inspector and change the speed control to automatic and it will adjust the speed to the length of the generator (and text).

[Jeremy Garchow]

[Chris Alaimo] “The video signal comes back out of that monitor, into the line multiplier, and then into my capture device.”

That video signal is just passing ‘NTSC’ video and audio, as evidenced by the CRT TV.

RGB is color, and has nothing to do with frame rate or “resolution” of which were lines in TV, including old console games. RGB simply carries color differently than, say, composite or s-video. SCART was a connector that allowed all of this to be bundled in to one cable, and didn’t define any resolution, only signal (audio/video/etc).

15KHz is only SD. If you are saying 240p, that’s just 480i doubled, meaning it’s writing each line twice (at 30fps). It’s still interlaced, or more accurately Progressive segmented frames (Psf), and you are getting nothing more than NTSC/PAL video (at best) out of that rig.

The scalar, or whatever that is, is quadrupling the lines is obviously amending and converting the signal from analog to digital, and doesn’t stick to “tv” standards because it doesn’t have to since it’s used for computers which are, for the most part, resolution and frame rate agnostic. It might be sending “~60fps” to the computer, but it’s certainly not receiving a 60p analog video input.

You would probably be able to rewrite the frame rate in those video files and be just fine (Cinema Tools used to do it, but that is long gone). If you could tell your capture software to write the header at 59.94 (or 60.0), those files would also work better in FCPX. Perhaps there’s a way to tell the software to lock the frame rate to a more standard frame rate? Or try capturing in a more standard “tv friendly” format?

[Jeremy Garchow]

[Chris Alaimo] “Most old game consoles output ~60fps”

60 FIELDS per second, not frames. It’s 30 frames per second.

NTSC video is 60 fields or 30 frames. NTSC is not 60 frames per second.

[Chris Alaimo] “As I mentioned earlier, the footage in question has a framerate of 59.88, as that’s what that particular game runs at. “

But you ran it though a scalar and captured it with what kind of capture device? If you captured 720p, you will have true 60p. If you captured much else, you’d have wither NTSC or 1080 HD. Some 1080 HD can capture at 60p, but not much and would require dual link (or 3G) HDSDI. What was the scalar outputting?

[Jeremy Garchow]

I think a good way to do this woudl be to add a subrole to the clips that you need to process.

No matter the master role, you could add a subrole under that master role. Let’s say that Subrole is “Special_Process”.

So, under each master Role (like Video, VFX, etc) you’d make a subrole called “Special_Process”.

Then you could search for the word “Special_Process” under the clips menu in the timeline index and it would return all the clips that had that Subrole.

From that list, you could select them, if you’d like, or screen grab the filenames, or do anything else you may need to do.

So yes, you’d have to go through and find each clip, but it would make any future edits/changes much easier. You’d have to remember to set the subrole when you add clips to the timeline, though.

Jeremy

[Jeremy Garchow]

Did you try reelecting the DV easy setup?

I believe you this control-q, and choose the DV easy setup. The DV deck has to be on and plugged in to firewire before launching FCP5.

Wow, this brings back so many memories! 🙂

[Jeremy Garchow]

What frame rate is your Project set to?

When you copy and pasted and found gaps, that seems like it’s a mismatch of frame rates. This happens when copying and pasting timelines edited in 25FPS and pasted in to 23.98 FPS.

Is the footage really 59.94p? I would think that if this is old console (TV) footage you’d need 29.97p.

The solution of washing the media through Compressor is definitely a good step, but I’m not sure if you need 59.94p footage. 29.97p will be perfectly fine, and more accurate.

[Jeremy Garchow]

[Andreas Kiel] “Later generations will remember them as the ‘Garchow Files'”

For the sake of the future, I certainly hope not! ☺

It’s a team effort. I appreciate all the great contributions that everyone makes to this forum!

[Jeremy Garchow]

[Steve Connor] “So does this mean the forthcoming iMac with i9 should perform better as I assume the cooling in an iMac is more efficient?”

I have no idea. But if you look around hard enough, even the giant ass PC laptops, that probably have similar thermal capabilities of an iMac, have some issues.

So…maybe? 🙂

[Jeremy Garchow]

Really glad you like the monitor. They are very nice!

[Les Wilson] “EPILOG: I did much searching and found a plethora of posts complaining of freezes related to the graphics cards. Some correlate it to particular monitors and got stability by changing monitors. Worst are 4K. So forget the nMP. “

I have a Tube and I don’t experience freezes. Early on, there was one batch of D700 graphics cards that were bad, and Apple replaced them.

https://www.macrumors.com/2016/02/06/late-2013-mac-pro-video-issues-repair-program/