[John Fitzgerald]

I don’t think it was captured incorrectly. Based on what I’ve researched in the last 24 hours (note: that research came about 6 months too late), I think this is the problem:

If you are shooting in 24p mode with the V1U, you need to edit it on a 29.97 timeline. In order to edit on a 23.98 timeline, you will have to shoot in 24pA mode. I’m not sure if this applies to all HDV cameras and NLE editors, but it seems to be the case for the V1U and FCP.

I have cut and pasted my master sequence into a 29.97 timeline and so far the results look good for the V1U footage. I am going to have to do some more tests to determine if the new timebase will affect footage shot with the GY110 and HVX-200.

I will report back if I can find anything else out. Thanks to everyone for your responses so far.

John

[John Fitzgerald]

Thanks. However, I’m hoping there is a way to fix the footage in the timeline. I’m currently trying the Nattress pulldown removal plugin. I’m not sure if it’s a pulldown problem because I’m not too familiar with pulldowns, but I’ll let you know if it works.

Thanks again.

John

[John Fitzgerald]

I think everything that’s been said here is dead-on. One trick I like to use is to start off by placing the end of the song at the end of the clip. That way, you have the ending of the song matching the ending of the clip – not a bad way to begin your work. Then I will drag the clip left as needed. If the length of the song and clip don’t match, I’ll fade in on the beginning of the song and place a quick drum loop or guitar riff at the beginning of the clip to clean it up a bit. Sometimes it works great… Other times, it needs more work. But the key is that you get the music ending at the right time. To me, that can be just as important as having the sequence starting when the song starts.

You can also start with the ending of the song, drag left and do the same from the beginning of the clip (dragging right). When the two clips meet, use a cross fade. Season to taste … you should now have a solid beginning and ending of your sequence. Cross fades don’t sound nearly as abrupt if they occur mid-sequence. But a badly timed cross-fade near the end of the sequence can sound terrible.

Hope that makes sense. It’s not easy to explain…

John

John

[John Fitzgerald]

Hi Thax,

I’m seeing the distortion in my external TV monitor and it occurs whether the photos are rendered or if I simply park the playhead on an unrendered image. Also, I’d like to keep them at the same size, but I’m not sure if making them smaller would make a difference b/c they have the same issues when scaled to any size, larger or smaller.

Thanks,

John

[John Fitzgerald]

Thanks Dave. If anyone else was wondering about this, you can get a 30-day full trial of AE Pro on Adobe’s website. I’ve been testing their motion tracker for a few hours on some aerial footage shot handheld from a helicopter and it works very well, especially when combined with Digital Heaven’s Box Filter. Of course you have to settle for a 30%-75% scaled image and possible split screen, but it virtually eliminates all movement on most shots.

[John Fitzgerald]

thanks for the help! i’m going to try the illustrator route and I’ll let you know how it goes.