[John-paul Palescandolo]

I wonder if it is down sampling to 2K. The sequence settings are set to the full dimensions of the file

[John-paul Palescandolo]

I have an Areca ARC-8050T2 8-Bay Thunderbolt 2 RAID, which is equipped with an 800 MHz Dual-Core processor and 1GB of 1333 MHz DDR3 RAM. Each of the eight bays has a HGST 6TB 7200 rpm drive in it. I copied one of the 4K 35mm movie files onto the RAID, imported it into FCP 7 and it plays back just fine. Problem solved?

[John-paul Palescandolo]

Luckily, when I captured my DVX100 footage in 2004, I did log everything and capture each shots as an individual clip. Hopefully, it’ll be as easy as just performing a reverse telecine on each clip that I used in my final edit. I did a few tests on different clips, using both Cinema Tools and Compressor and all seems to be working well for now. Of course, since the time codes will be a bit different, I’ll have to do a little visual reconstruction as compared to relying solely on time codes.

[John-paul Palescandolo]

I figured that I’d have to change frame rates and do some re-editing at some point in this process. I just had my 35mm film re-transferred at 1080p, 1.78:1 and 23.976 fps. If I have to recapture footage from the DVX100, then so be it, but I still have all my project files, not to mention the DVX100 footage is still on my hard drive. Because the footage is still on my hard drive, I could still use Cinema Tools to remove the pulldown without having to go back to my original tapes and recapture anything.

What I’m trying to figure out is this. The computer where this project is saved uses Final Cut Studio 2 and there is an option, under the Tools menu, there is an option for Cinema Tools reverse telecine. Will reverse telecine remove the pulldown from my 24p Advanced footage and return it to 23.98 fps?

Or, I could make a second copy of all the 24p Advanced footage, run that thru Cinema Tools, create a new project with i and then up-res so it will fit in the same sequence as the 35mm 1080p footage @ 23.98 fps.

So, on to the up-res question – is Compressor the best way to go, outside of a post-production house? Any good settings for the Anti-Alias or Details Level slider? I found another thread elsewhere where someone said a good starting point is to set Anti-Alias at 20 and Details Level at 60. I ran a test and did that and performed the up-res using Compressor. I set the output frame size to 1920×1080, had all of the resizing and retiming controls set at Best. The clip with Anti-Aliasing and Details set to 0 looks the same as the one where I had each applied.

[John-paul Palescandolo]

Thanks! I’ll have a look.