[John Heagy]

Only in Worker then? I haven’t used Worker except during our trial. Is it by design that worker includes abilities not found in CatDV at this level? I had assumed they would match and Worker is where multiple operations can be automated and directed via watch folders. Seeing results and prototyping in CatDV before “baking” everything in Worker would be useful.

If contiguous TC is planned please consider “file creation date” to TC as well. This would bring CatDV on par with Canon’s Log and Transfer.

FYI… once we get our heads above water here on all the “must be done before week 1 of the season” projects we are planning on a CatDV Server/Worker deployment.

Thanks
John Heagy

[John Heagy]

Good to know… but truncating fields/filenames would seem to be a basic enough task to warrant inclusion in CatDV as well. Perfect example: I build a filename with the start TC at the end then decide I need to remove it… besides using regex.

[John Heagy]

Hi Rolf and Kevin,

Thanks for considering the ascending TC and creation date>TC.

Just tried the increment and you are right. I’ve been using 8 for a while… must have been seeing things.

I noticed the Exif data and was wondering where it came from… nice.

Another feature I’d like to see in Bulk Edit is the ability to truncate an existing field by number of positions (beginning and end)

Thanks
John Heagy

[John Heagy]

Sounds like you want a 60i to 24p conversion and not a conform. As Dave indicated, a 30 to 24 conform in Cinema Tools will simply alter the playback frame rate to 24 and increase the duration slowing down the footage. If you want to maintain duration and audio sync you need to convert. If this is the case – do not de-interlace – it’s easier and smoother to pick 24 frames from 60 fields than it is from 30 frames.

Cinema Tools will not do this conversion. Compressor will but I don’t know if it picks frames from fields or does a courser job from de-interlaced frames. I prefer Episode, as Compressor’s frame controls require a degree in voodoo to make sense of. Another option is ReVision’s Twixtor and FieldKit plug-ins.

In sort, you will end up with frames missing not repeated or maintained.

John Heagy

[John Heagy]

Agreed… we export reference movies straight to an Episode watch folder. If all your footage matches the seq setting and all effects are rendered, a 3hr movie will take maybe 15min to export. The only reason it takes that long is because FCP ref movies don’t reference the audio, instead it fattens it into the exported movie. I wish FCP made true ref movies.

John Heagy

[John Heagy]

[Dave LaRonde] “Read more closely: I’m saying that you CAN shoot at 23.976 frames/sec, but because of the limitations inherent in most cameras at the 1080 resolution, it can’t RECORD the video at 23.976 frames/sec. It has to be recorded at 59.94i, with 3:2 pulldown added to distribute the slower frame rate properly.

Kapiche? “

[Dave LaRonde] “[John Barnard] “23.98 HD footage (XDCAM)”

If it’s 1080 and not 720, it wasn’t true 23.976 footage. It was actually 59.94i footage containing 3:2 pulldown. They give it a fancy name now: Progressive Segmented Frame. . “

Dave:

Sorry but no amount of “reading between the lines” would allow one to gleam your meaning from the above quote. Even with your explanation your premise is still incorrect. 1080p 23.976 exists in true progressive native form in XDCam, along with many others. DVCProHD is the only prof. format that does 24p as 60i with 3:2, and that’s only because of it’s tape roots.

[Dave LaRonde] “John Heagy: ” PSF is truly progressive and does not contain 3:2 pulldown. ”

That’s pure, unadulterated BALONEY. Who’s been teaching you about video, anyway? “

Okay… now this is almost as much fun as popping bubble pack. Sorry Dave, but you are incorrect. I’d tell you to check your facts, but you already did and you still don’t understand.

So you believe 24 PsF is 24p with 3:2 pulldown? This is dead wrong. 23.976 1080p is truly progressive, even as PsF. PsF is simply a means to and end, the end being being a true progressive image. You seem to think 24p can only exist in 60i with 3:2, this is simply 1080i60. Let’s get this straight before I explain further.

Here’s my esteemed colleague’s explanation of PsF: https://forums.creativecow.net/readpost/8/1089254

[Dave LaRonde] “Before you start pontificating, why don’t you get your facts straight?”

That’s funny…

John Heagy

[John Heagy]

How are you converting HDV to ProRes?

I suspect you’re using the HDV-ProRes firewire preset. Given the CPU has to do an MPEG2 HDV decode and then a ProRes encode, Apple decided to forgo the scaling to make this work in realtime. The alternative would be to capture HDV, then transcode to full raster ProRes using Compressor. I would do the same for your XDCam footage. Nothing beats a consistent codec to ease workflow.

[John Heagy]

[Dave LaRonde] “If it’s 1080 and not 720, it wasn’t true 23.976 footage. It was actually 59.94i footage containing 3:2 pulldown. They give it a fancy name now: Progressive Segmented Frame.
“

Are you saying one can’t shoot 1080p 24?.. because you can. Also, PSF is truly progressive and does not contain 3:2 pulldown.

[John Heagy]

It is a subtle difference… three fields vs four. Where you will notice the 4 fields is if the repeated frames happen on a cut, even more so if its on both sides of a cut. You will see a “pause” then the cut.

[John Heagy]

If you’re editing native XDCam than you need your timeline to match the codec and frame size. Dropping XDCam footage in a ProRes timeline will force you to render everything. If you need a ProRes final deliverable… edit in XDCam then transcode the final seq to ProRes. Don’t try to work in ProRes from the beginning. There is a setting that forces renders (titles, effects, etc) to ProRes if you are worried about further MPEG degradation.