John Heagy
Forum Replies Created
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I’d like to see this added to “Bulk Edit” I could understand if lengthening was limited to edls, ales, txt, etc as one could not lengthen existing media.
John Heagy
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[Luke David] “Do I even need this software if all I need to do is interpret XD Cam footage?”
No you don’t. FCP can work with specific types of MPEG2 files, it’s the mxf and mp4 wrappers it doesn’t play well with. Sony supplies a Log and Transfer plugin that rewraps to .mov.
Calibrated is only required if you want to use the native camera files in FCP.
John Heagy
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[Matt Campbell] “Might I add, FCP does not add in the proper 3:2 pulldown in the timeline”
You speak the truth…
Simply changing the frame rate may be acceptable, but there’s a slicker way…
The “Inverse European Method”… follow my logic…
If it’s a PAL movie, it was most likely shot in 24fps and sped up to 25fps – this is SOP in PAL world. Even if it was shot in 25fps – this is still valid – as it’s done both ways: PAL > 24 > PAL.
Given that, you could do the same. Open the 25fps movie in Cinema Tools and “Conform” it to 23.976 – do this to a copy because it will alter the original. Now you have the original 24fps movie and can add 3:2 “pulldown” in AE, Compressor or JES De-Interlacer
Make Sense?
John Heagy
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Unless I completely misunderstand you… your wish has come true!… and has been true for over 2 years.
If you re-read my post you’ll see XFile can export ProRes QTs from EVS (XT2). This requires the entire EVS system to be switched over to ProRes. We get XFile exported ProRes, and DV100, QT files that play unaltered on a FCP timeline all the time. The same files are easily imported to an EVS as well.
The only thing stopping you from transferring these files directly to and from your KiPro drive is that XFile runs on a PC and can’t use a Mac formated drive. If the PC has MacDrive installed… then you could.
Whether the truck wants to use ProRes is another matter… but it can.
XFile is an unfortunate name as it’s software that runs on PC, not an actual file. Can’t tell you how many times I’ve heard “Can we send you an XFile?”
John Heagy
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[Rafael Amador] “The band with is exactly the same.
Split or not, you pass 1920×1080 pixels per second. “Correct…
Fields = little squirts
Frames = big squirtsInterlacing is a form of compression to avoid 60 frames per second. Instead it’s 30 interlaced frames per second… aka: 60i.
It preserves temporal resolution at the expense of spatial. 60lbs in a 30lb bag.John Heagy
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[Rafael Amador] “n short: Psf only happens in cables and tapes.
No sense when talking about a digital file. “Precisely! This is the context that should be mentioned went speaking of 1080p and interlace.
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But the question remains: how is 30Psf different from 60i. The Wiki page simply describes an interlaced signal containing 30p. 60i does this already, what does 30Psf gain one? Does it contain metadata in the stream that would help an MPEG2 encoder, or invoke 2:2 on a display. I imagine the reason Aja doesn’t include 30Psf is there is no difference.
John Heagy
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Yes, if your audio was in sync on your timeline before you sent them to audio… they should return in sync.
You edited in 23.98… was this the acquisition frame rate… or was it 24.00? This is where the 100.10% -aka: pulldown – comes into play.
John Heagy
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Ok.. let’s step back and define some things as terms are being used out of context. Basically file formats vs base band video. Let’s look at a typical 24p HD file to video path.
PsF is an HD-SDI base band video signal used to feed 24p VTRs and the like. If you have a FCP 24p ProRes seq, you will need to use a Kona3 24Psf video output preset to go to an HDCam deck set the same way. Now, since Psf is only a way to transport progressive frames split into 2 fields (segmented) there is no such thing as a FCP 24Psf seq preset, as 24fr progressive media is truly progressive, and not processed in field segments inside FCP.
So we have a FCP seg that is 24p and a video HD-SDI output that is 24Psf… agreed?
Now let’s take a 1080i60 timeline with media that has true field motion. That goes to tape with a 1080i 29.97 Kona 3 output setting. If I deinterlace this media, it will of course go to tape with the same preset, essentially 30p going to a 60i tape. Again no 1080Psf30 seq preset… that would be the same 1080i setting with field dom set to “None”
Now… Sony HDCam’s do have a 29.97 Psf system setting. I’ve never tried it… never needed it… but it’s there. On he FCP side… there is no 29.97Psf Kona3 output setting. My question is: What’s the difference between recording 1080p 29.97 media to an HDcam with a system setting of 1080i 29.97 (59.97 really) and one with 1080Psf 29.97? I don’t think there is any difference, just the lack of field 2 editing I would assume. In all practical purposes 1080i60 = 1080Psf30. This goes to Bouke’s point and is a question I’ve always wondered about.
John Heagy
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Thanks Bouke,
We use Fairlights and when we started importing BWFs, Fairlight told us we needed to set that pref. Since by their account it did work, it was a natural instinct to relaunch after it failed.
John