[John Heagy]

[Rafael Amador] “Cinema Tools changes the sample rate.”

I didn’t think Cinema Tools did that… good to know.

Since CT does not render out a new movie, it is just a sample rate metadata change. If audio was recorded at 48K, a 24 to 23.97 conform would “pulldown” the audio to 47952. To avoid this one could record audio at 48048 so it would pulldown to 48000.

Compressor can pulldown to 47952, re-sample to 48000, and add 3:2 in one step.

John

[John Heagy]

[Rafael Amador] “I think for p24 the best way is to conform the footage to 28,98.
The audio slow down is physically unnoticeable.”

For a 30 sec spot in this case yes. For a 5 min or longer interview, absolutely not as the audio will drift out of sync.

[John Heagy]

[Andrew Richards] “SMB solutions include ($6K-$20K):
Cache-A Pro-Cache
Storage DNA Evolution”

I would add Presstore to this list:

https://www.archiware.com/home.1.1.html

[John Heagy]

Hi Tom,

Based on the conversations here I’m assuming you mean 23.98p to 29.97i and not 24p to 29.97i though in a 30sec spot it’s not a big issue either way.

Here’s the settings for Compressor:
– import 23.976p footage to Compressor
– apply Quicktime encoding profile (usually ProRes 422 or Uncompressed)
– in Encoder tab of inspector, click Settings button and under Motion, change frame rate to 29.97
– in Frame Controls tab of inspector, turn frame controls ON, set output fields to lower, select “Fast (Nearest Frame)” for rate conversion, duration is 100% of source
– render

The term “pulldown” is being used incorrectly in this thread. The process of adding 3:2 pulldown is really two processes. Pulldown is specifically slowing down aka:pulling down 24fps to 23.976fps. 3:2, or more accurately 2:3, is the process of creating and repeating fields to convert 23.976 to 29.97. If you are shooting 23.976 then all you need to do is add 3:2.

If you are in fact shooting 24p then ideally you do need to do both the pulldown and 3:2 processes. In which case change the the Set duration from 100% to 100.100% via the menu setting 24@23.976 in Compressor. Make sure you are encoding the audio and not doing a pass through so the audio slowdown is rendered as well.

30p… the new 24P!

John Heagy

[John Heagy]

We’ve had this happen and dividing the project timeline did not solve the problem.

FCP7 keeps a project’s data much like an adding machine with a paper spool. You can keep subtracting but the tape just keeps getting longer.

I would suggest creating an empty project and copy portions of the timeline into it. You can drag source files from the old project into it as needed.

John

[John Heagy]

Thanks Vince,

That’s what I suspected. Not sure what you mean by “closed” or how that has anything to do with being “native”. If FCP is installed (really only Qmaster is required) then Abobe has full access to the ProRes codec on a Mac.

Does anyone have a list of HD codecs that PP accepts as “native”?

We currently use FCP and generate or convert all sources to ProRes so our timelines are always 100% native. We have crazy deadlines and can’t afford to render every frame of an hour long show to export a file. We export QT ref .movs to feed our Episode encoder cluster with FCP. I understand PP cannot do reference movies, but it appears it can’t simply “flatten” out a 100% ProRes timeline either.

Here’s a comparison of the time it takes to export a 55 min 100% ProRes timeline as a matching ProRes file.

PP self contained… 34min, CPU at 40% disk r/w at 35MB/sec

FCP self contained… 9 min, CPU 1%, disk r/w 95MB

FCP reference… 10 secs!

34 min vs 10 sec is bad enough but the fact that PP adds a decode/encode makes it even worse.

Thanks
John Heagy

[John Heagy]

I’ve found the fastest way is to use Da Vinci Resolve Lite which is free. An 8 core MacPro with a single ATI card will apply a LogC to Rec709 LUT a bit faster than realtime sourcing and saving to our Xsan.

The one big caveat is it does not pass the audio.

John

[John Heagy]

[Craig Seeman] “Let’s see if the Knight can come to the rescue with brilliant industrial design.”

That design is most certainly long done and a prototype sitting on Cook’s desk waiting for a “thumbs up” or down from the emperor.

John

[John Heagy]

Interesting, and not too surprising it was demonstrated on Windows based on what I read on Magna’s site https://www.magma.com/thunderbolt.asp. According to Magna a Thunderbolt attached PCIe chassis appears to Windows exactly like internal PCIe slots. The same is not true for OS X and using external graphics cards in these chassises is currently impossible.

This gives me hope that a MacPro with a few PCIe slots is coming. Without it there’s no way to use a PCIe GPU even with a Thunderbolt PCIe expansion chassis.

John

[John Heagy]

[Shawn Larkin] “Can you confirm that you can’t have multiple users mounted to the same Xsan FCPX Event at the same time?
“

Confirmed…

When another machine tries to add an Xsan Location that is mounted by another machine, an error pops up indicating the machine name and user in “possession” of that location/folder. This prevents the second machine from adding it preventing any sharing, including any event or project, opened or not, inside that location/folder.

Obviously this lock out must only be for writes and allow reads to enable sharing for starters. Eventually a publish/merge system is needed to allow updates to both Events and Projects from multiple users.

It’s bad enough Apple has us at the end of the gang plank… is the sword at our back really necessary!

John Heagy