John Pale
Forum Replies Created
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From the FCP Manual (page 630)
2:3:2:3: This pattern is the most processor-intensive method of introducing
pull-down but outputs NTSC video with the least noticeable temporal artifacts. For
this reason, 2:3:2:3 pull-down is generally considered to have the most acceptable
quality of motion. This pull-down pattern is also referred to as 3:2 pull-down.2:3:3:2: Also known as advanced pull-down. This pattern requires less processing to
output than 2:3:2:3 pull-down because 2:3:3:2 pull-down requires recompression or
regeneration of fewer frames, but the perceived motion quality is lower than when
using 2:3:2:3 pull-down.2:2:2:4: This pull-down pattern requires less processing, so it is a good choice if you want
to preview video with as many real-time effects as possible. Keep in mind that if you
choose this pull-down pattern, you won’t be able to easily remove the pull-down later.The following two patterns are available when your sequence has a frame rate of 24 fps
and you choose a 25 fps external video output.24@25 Pulldown: In this pattern, frames 12 and 24 are pulled down for a duration of
three fields instead of two, creating a subtle stutter each half second. For 25 fps
output, this pattern has the best perceived motion quality.24@25 Repeat: This pattern simply repeats every 24th frame once to fit 24 fps footage
into 25 fps. This causes a noticeable stutter every second, but requires less processing
than the 24@25 pull-down pattern because no special interlacing is required. -
Not sure where you are, but you might want to look into renting this system out if you have no use for it.
With a few long term rentals, you might make more money than selling it. With the new DX hardware and lower pricing, the resale value isn’t great, but the Symphony Nitris is still an excellent system with great capabilities. -
I don’t know of any EDL protocol that allows that. EDL’s are for primitive 1970’s computers (linear edit controllers). It’s been awhile, but the max I have heard of is 8 characters.
Have you tried all the flavors…GVG, Sony, as well as CMX.
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[Tom Duncan] “cam 1-3 are Apple Pro Res 422 (1440×1080), 29.97 fps, shot with Canon
cam 4 is DVCPROHD (1280×1080), 23.98 fps (24PA) shot with HVX. “You really should not be mixing frame rates and formats with this….and offlining in SD only makes it worse.
From page 242 of the FCP Manual
Multiclips have the following limitations and requirements:
Clips in a multiclip are not required to have the same duration, but they must all use
the same codec, image dimensions, and frame rate.
Important: The same capture preset should be used for all footage you plan to make
into a multiclip. -
If you are using Compressor to encode, you can add the timecode filter there.
But yes, a DVD recorder might be a faster option.
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Export as Quicktime (self contained or reference)
Open in Compressor. Double check that Compressor has guessed your field order correctly (sometimes it is wrong…fix it if necessary) Do not use the Letterbox filter. Use the padding in the Geometry tab instead. Turn on the Frame Controls and set the scaling to Better or Best.
Verify that you are maintaining the correct field order all the way through the process.
I just did a bunch of these and they look pristine.
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Quicktime player will show your video as squeezed if its 16 x 9. That means you did it right!
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Compressor does a good job with this if you turn on the Frame Controls and set the scaling to better or best.
As for this being an indicator of FCP not being pro…I am sitting in front of a Symphony Nitris right now, and I can attest to the fact that it can’t do this well either
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I had a problem once with a Huge Systems (now Ciprico) external RAID that caused intermittent artifacts not unlike what you are describing. They sent me updated firmware and the problem disappeared.
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No problem, you can revise all you want. All the angles are available and can be changed at any time, even though only one track is used in the timeline.
Read up on it in Media Composer Help.