John Heagy
Forum Replies Created
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There’s a BWF import pref in Editing Preferences. It’s ND by default, switch it to DF then relaunch FCP.
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I would go with a 1080i60 ProRes timeline, but you shouldn’t drop your 720p24 onto it, as FCP will not add 3:2 pulldown – it does 4:2 – repeating every 4th frame.
You would need to up rez the 720 to 1080 and frame rate convert 24 to 60i by adding 3:2… there are a few tools to do this. The Nattress Standards conversion FCP plug in will do this on the timeline, but that may be a bit slow to edit with depending on how much you have. If you do have a lot of 24p, I would opt to process it all first. The trick will be maintaining TC 24 to 30… if that’s important. I haven’t used Nattress much, but you may be able to add the filter to all the 24p clips in the Bin and batch export.
Alternatives would be JES deinterlacer (free), After Effects or Episode Pro. The two latter will not maintain TC, not sure about JES. Compressor can do it but finding the correct combo of settings is tricky as there is no “Add 3:2” setting, it just happens if the settings are a certain way. I really hate Compressor’s interface.
If all your 24p is contained in a segment of it’s own, you could edit in 720p24N then do the conversion to the finished segment, and drop in on the 1080i timeline to finish with the 1080i footage.
Just curious… what came first the 1080i or the 24p?
John Heagy
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Absolutely correct, not arguing that… but understanding the difference between broadcast standards and file “proprietary” workflows and delivery are equally important. Meeting broadcast standards will become less important, over time, as people shift to “online” delivery.
Apple requires all HD to be 720p24 for iTunes – that’s not a broadcast standard – and no VTR or video card will output it. You’ll not find a single online video site that “broadcasts” 1080i60. If you see interlaced video online… they don’t know what they’re doing.
The below clip is an example of how not to do it, but is ironic, as the person who encoded it did know how to maintain interlacing when scaling video, something Compressor can’t do. In this case maintaing the 60i standard was the wrong thing to do… it needed to be de-interlaced to 30p.
https://www.comcast.net/video/-danica-patrick-and-amani-toomer-go-karting-/627075758/
We are arguing over semantics and context, but the devil is always in the details.
John Heagy
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Interesting… next time check Activity Monitor… I’d be interested in how many cores Worker fires up.
Thanks
John Heagy -
[Rafael Amador] “When you watch 1080p30 you are really watching 1080i60.”
I knew that was coming…
FCP seqs/files and broadcast formats are handled differently. 1080i60 is a broadcast format, and a FCP seq setting, that can contain 30p. However, when talking about progressive camera files, they’re not segmented. When one shoots 1080p30 with a Canon 5D, or Pana 2700, it will be truly “p” at the file level. The F900 30p was a poor example on my part.
The whole interlace “issue” is so hard for people to understand… so I jump to “correction” when I see blanket statements that can be misinterpreted… sorry Shane.
We use 1080i FCP seqs even with 30p files because of the “truly” interlaced material we normally work with. Unfortunately it’s all too easy for an editor to mistakingly click “ok” when the seq setting mismatch pops up when a 30p file is the first onto a FCP 1080i60 timeline. This will set the Field Dominance to “None” any force any renders to 30p.
John Heagy
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[Shane Ross] “1080 is an INTERLACED format by nature”
That’s not correct, we shoot 1080p30 (29.97psf) HDCam with our Sony F900s when called for. 1080p29.97 and 1080p30.00 are both part of the SMPTE HDTV standards.
The American LeMans Monterey “DocuRace”, airing this Sat on CBS at 1:30pm ET, has some 1080p30 in it. This show is a potpourri of every imaginable format – 1080i60, 1080p30, 1080p24/60, 720p60, even some PAL 25/24/60 widescreen SD.
Check it out or DVR it.
https://www.racer.com/cbs-takes-docudrama-approach-to-monterey-alms-broadcast/article/171221/John Heagy
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Your best bet is Episode Pro. Do an HD to SD Resize to 720×486 or 480 depending… and add “Frame Rate” Filter Mode “Fixed Frame Rate” Preset “Telecine 23.98 to 29.97” New Frame Rate 29.97.
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Picking 24 frames from 60 will yield decent results, as you discovered, but you’ll miss the motion blur a 24p native exposure would give you. Adding motion blur via Re:Vision’s Real Smart Motion Blur would add the final touch. It will only add blur to objects moving across the frame.
https://www.revisionfx.com/products/rsmb/
John Heagy
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Plural Eyes the XL-H1 and 50p DSLR and use AuxTC https://www.videotoolshed.com/product/26/fcp-auxtc-reader to sync the 25p DSLR’s TC to the 744’s. Once everything is synced, auxtc may be able to assign all the recordings the 744’s TC.
The 5D does 50p?… or was it a 7D? At 50p it may be destined for a 25p conform for slomo… in which case no audio sync possible.
John Heagy
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EVS falls into the category of Broadcast “Heavy Iron”. They are standard on most production trucks and replaced the ubiquitous GV Profile. Multiple EVS’s can be networked together via SDTI, and each box can play each others media.
There are very few VTRs on trucks nowadays and KiPros are becoming very popular for “standard” VTR like recordings, but they can’t match the “playout while recording” feature of an EVS. The only systems that can do this are Building 4 Media, Gallery, Softron and one other that doesn’t come to mind. All of these rely on general purpose computers and an IT infrastructure. In the world of live mobile HD broadcasting things like “oh… I need to restart” or “my app just crashed” can’t happen. EVS charges a heavy premium for it’s “bullet proof” reliability and I believe it was the first, and maybe only, system that handles “super slomo” replay.
Standard deliverables from production trucks are now X-File exports (iso cam melt reels) and a single VTR tape “line cut”. X-File is an EVS Windows app that serves as a portal to the EVS media. It rewraps it’s native ProRes, DV100 or DNxHD recordings as .mov and .mxf and writes to NTFS hard drives. The significance of EVS’s native support of these formats cannot be over emphasized. Their previous MPEG2 and PhotoJPEG mxf exports where a pain to decode… just watch out for viruses.
John Heagy