John Heagy
Forum Replies Created
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Hi Julian,
FCP7 Log & Transfer will automatically stitch spanned P2 clips. It will span across cards as long as it sees all the CONTENTS folders and lastclip.txt files it needs to assemble a complete clip.
John Heagy
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Yes shooting 24 for PAL is far better than 60i. Just edit in 24 then speed up the final to 25.
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[Chris Kenny] “that assume as background that Apple is actually exiting the pro editing market, which is merely an interpretation”
If by interpretation you mean evaluating a shipping product… we are reacting to what Apple has done. You are banking on what you believe Apple will do. We can’t afford to do that.
I’d be very interested in what kind of reaction Apple expected. If they expected pros to embrace this then heaven help us all, as they are completely out of touch. If they hunkered down and anticipated the current reaction… there’s hope.
My hope is Apple is releasing this to the “pajama editors” of the world as beta testers to solidify the editing core and then start plugging in real workflow necessities. An admittedly faint hope.
Not being able to open FCP7 projects is stupefying and takes it off the table for many.
John Heagy
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Answer: 2x faster then max read/write
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If your 29.97 footage was shot with a 7D than it’s 29.97p and not the typical “videoy” 29.97i. 23.98p from 29.97i is arguably doable (I’d argue against it) but 29.97p to 23.98p is asking for poor results. The only way to get acceptable results is to use optical flow tech in Compressor, Twixtor and the like. If you have complex imagery and crossing motion it will look bad.
I suggest hitting the easy button here and continue with 29.97p. At least test at 29.97p to 23.98p conversion with a moving subject matter and decide based on that.
I don’t believe Nattress uses optical flow tech… correct me if I’m wrong.
John Heagy
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It confusing to some because people, and manufacturers, mix frame rates with field rates. In my opinion one should stay consistent with FRAME rate.
29.97i not 59.94i
Aja uses this language.
John Heagy
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A broken TC QT file is possible. We can make them with our Building 4 Media recorders. In the end they are useless in FCP though. FCP 6 will not open them and FCP 7 will simply take the first time stamp and extrapolate it across the entire movie.
Depending on the time between breaks, you could string them on a matching TC timeline using “Make multi cam seq”. From this you can export the entire timeline including the black between the breaks, individual clips by marking each clip, or groups of clips on the timeline between the big breaks.
John Heagy
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[Jeremy Garchow] “you always come in and say 24p sucks for whatever reason”
I’ve never said 24p sucks, but I will continue to suggest 30p as an alternative when people are struggling with interlace, heaven forbid 3:2 and 24p.
24p requires one to work in a 24p “clean room” where 60i and 30p are not allowed, or must be converted to 24p with typically poor results. Many do not have the discipline or knowledge to adhere to these rules. The result is a mess in the worst case, and broken 3:2 cadence in the best case. Neither are sustainable options given the progressive only “iPad future”. That’s the root of my anti 24p stance, that, and I don’t like paying $12 to watch stutter motion and blurred images in theaters. 24p in 3D is near unwatchable!
[Jeremy Garchow] “It’s your opinion, and you love to spread the FUD.”
FUD!… please!… questions about interlace and 24<>30/60 conversions are second only to “why doesn’t h.264 work on my timeline?”. If more people shot 30p there would be less FUD on this forum. Many think 30p and 60i are the same. 30p is much closer to 24p than 60i, a fact I will continue to point out where applicable.
24p has near cult status. My lone voice in support of 30p and your near inevitable counterpoint supports this. That’s okay, I enjoy the jousting. Find me a “feature” segment, or open, done in anything other than 24p. These types of high production value productions are nearly 100% “knee jerk” 24p Find me an exception! Again, it’s cult like and the herd obeys.
I like to point out the original BBC Top Gear as an example of 50i “feature” segments. They are examples of very high production value segments all in 50i. Watch an episode and see if you find yourself thinking: “This would be much better at a lower frame rate.”
In the long run higher frame rates are inevitable. Do a search on Peter Jackson and 48 frames. Jackson, Cameron and Lucas are all gaga over 3D in 48fps and higher, and make my 30p endorsements look positively provincial.
Lucas pushed theaters to digital projection, Cameron to 3D, now Jackson will introduce higher frame rates to feature films. When Lucas, Cameron and Jackson want something to happen it can happen fast. The status quo is a “big oak tree with deep roots”. These guys have big axes and know how to swing them. I’m happy to have them on my side.
[Jeremy Garchow] “30p is not always the answer, and it doesn’t help the problem at hand, and is actually the wrong answer.”
My answer to Kenneth was to study up on the subject and provided links to do so. I strongly feel people should understand what they are doing. Teach, and one will learn… Tell, and they will forget. I suggested 30p to others reading who don’t understand how to broadcast 24p.
Peace
John HeagyOh… if in the near future you find the option to format P2 cards in camera with the card’s serial number instead of the ridiculous NONAME… you can thank me. Imagine being able to tell two copied P2 card volumes apart!
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Yes pressing a button is easy. Understanding what 3:2 is, when and why to do, when not to do it, and and the implications for broadcast and online deliverables… not so easy.
An FYI… The vast majority are only adding 3:2 not pulldown unless ur shooting true 24.00
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IMHO one should not shoot 24p for broadcast unless one understands how to broadcast 24p.
For others in a similar situation… shoot 30p, it gives you 90% “film look” with no learning curve.
Learn then do… start here:
https://www.projectorpeople.com/resources/pulldown.asp
https://www.theprojectorpros.com/learn-s-learn-p-theater_pulldown_deinterlacing.htm
https://en.wikipedia.org/wiki/Telecine