John Pastuch
Forum Replies Created
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That WAS 24pA with pulldown removal. From what I understand, the big contrast in lighting in combination with the coat pattern, hair and moving forest just basically caused the DVX compression to fail. It’s not quite as bad on other takes, and I didn’t notice it on any of the monitors I used to shoot with (although I only have Varizoom monitor for framing, unfortunately), and unfortunately pretty much every angle would have had forest and contrast lighting, so…
Now, the only external monitor I have access to is a broadcast quality ntsc video monitor, so I can double check how it will look on a standard monitor/TV, but I’m mostly worried about the artifacts being INSANELY noticable on a hi-def monitor. I realize DVX is just SD, but obviously there’s a big difference between it looking soft and looking blocky and incomprehensible.
How are the “Deblocking” plugins I’ve been reading about? I’ve seen worse macroblocking in footage than this, and I’ve also read Neat Video is real good with this kind of thing, but that you need to be experienced with it and have a good monitor.
OH- and one other thing- I’m turning all the footage to black and white, hence I shot FOR black and white…that MIGHT make some of it less noticable, but I assume I should fix the footage first, then apply any color effects. Not sure though.
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Look closely at the hair, left side of the jacket and the trees.
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OK…I just stepped through several clips of my footage, both at 100% and 200%. I counted 24 distinct clean frames a second. No ghosting or interlacing found, and I’m working on a 23.98 timeline…so if I don’t have these things, I barely dodged a bullet here? There is some small digital noise visible in some dark areas, but I assume that’s just inherent to the DVX and low light…?
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My friend, an editor, had shot an entire movie by recording straight to his laptop this way, so I had seen it done before and I figured he knew exactly what to do.
I realize it was dumb and I’m not trying to constantly test my luck or anything. Perhaps it was very stupid to do but I’ve learned my lesson…I’m not aiming to be lazy on my projects or simply fix them, I’m trying to learn to avoid anything dumb in the future. This stuff is important to me but I’m still a student. I’m not claiming to know it all or anything and I appreciate you taking the time to answer my question.
-John
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Yeah, it’s frustrating waiting because I’ll have access to the system tommorow…
But until then, I already checked the clips last time I was editing on Friday- they are in fact 23.98.
And I removed pulldown literally within FCP using Tools>Remove Advanced Pulldown…it said “Removing Cadence” or whatever, and the clips looked and worked sharply and smoothly.
Now, I didn’t think anything was wrong until this past weekend when Noah informed me that 24pA is not possible over firewire live…he didn’t elaborate and I guess didn’t need to, but simply said what I got was standard 24p.
Now, everything worked smoothly which is why I never thought I did something wrong. But before I got any further in editing, I’d obviously like to get to the bottom of this- did I in fact get 24pA footage, or did I somehow removed Advanced pulldown on 24p footage, and what underlying problems will this now present to me? And can I fix it in Cinema Tools?
OR- did I record some sort of other weird 24p since it wasn’t written to tape? I honestly have no clue and CAN’T find my specific problem on any board…even if it’s just curiosity- I’d like to know what exactly I did. So I’ll check back tomorrow. Here’s hoping I lucked out, simply capture 24pA live somehow, and removed cadence correctly…somehow I doubt it, but I figure this is some kind of interest since it seems unique.
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Well I’ve learned my lesson now to always use a tape, and have been since, I just didn’t know about any of this this time.
And unfortunately I cannot do a test right now- my friend is the one with a macbook pro and I’m editing on a mac at school, so I’ll have to wait for tomorrow.
I appreciate you taking the time to run the test though. Thanks a bunch, man.
-John
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No, he flat out said to me that 24pA is impossible with live capture, and he knows I’m talking DV and not HD- and I mean, the guy literally wrote the book on this stuff….he also said it shouldn’t be a problem, but again, I don’t know where this will be played/transferred to, so I’m just a bit worried about interlacing and ghosting in the footage.
But you’re absolutely positive you’ve captured 24pA with live capture over firewire with no problem? The way Noah put it, it seems 24pA can only be written to tape then understood correctly while being digitized. We didn’t remove the advanced pulldown until AFTER we captured it all live, and when we did, the footage looked better, not worse.
So really I’m trying to figure out if perhaps Noah misunderstood my question and really what I DID exactly if 24pA can’t be captured live- I’m editing in a 23.98 either way because I have 24pA footage from tape to use too.
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Ok, I’m sticking with tape for the rest of the project anyway…
But wait, back up…you said there’s no reason I can’t do 24pA out to computer? I’ve been told different by Noah Kadner, who told me 24pA is impossible via live capture with firewire.
I had it set to 24pA, but Noah said that because of my method it actually only captured standard 24p. So I’m confused.
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In other words I was trying to save hours on the head and it was also to help with sync sound…it did make things easier and faster but obviously it’s caused potential problems.
Anyway, I have to edit on 23.98 at this point because I’ve removed pulldown and I have a bunch of other stuff I’ve already shot 24pA to tape with.
AND I still do not understand what’s happened- I removed advanced pulldown from standard 24p footage- what happened to the footage then if the pulldown was standard? And why is the 24p seemingly working smoothly on a 23.98 timeline? Do I have to do anything to this standard 24p footage in Cinematools? Did I luck out? I don’t get it.
