[Jon Gagnon]

How do I do that?

I have a friend who says if you update Premiere is isn’t an issue. (at least not for him and his computer) I think I had this problem before and simply re-exported from AE with NONE as compression.

Thanks for your help,

Jon

[Jon Gagnon]

So if I wanted my master to be an export that matches exactly how the footage was originally shot on a 7D using Adobe Premiere I couldn’t?

Also when I try to export as a pro res quicktime .mov the resolution automatically goes to 1280 X 853?

Sorry forgot to mention I copied the edit into a DSLR 1280 X 720 sequence for various reasons. But to be clear I am getting all the same issues in a DSLR 1080 sequence as well.

[Jon Gagnon]

Thanks.

How would I go about making a full quality Master for backup?

[Jon Gagnon]

Sorry what is TMPG?

The client is seeing it out of synch.

Ideally there would be a solution not requiring the client to download or fix something.

[Jon Gagnon]

Frame size: 1920 X 1080

AR: HDTV 1080i (16:9)

Pixel aspect ratio: Square

Editing Timebase: 23.98

Compressor: Apple Pro Res 422

Audio:

Rate: 48 KHz

Dept: 16-bit

Config: Channel Grouped

Source Material was shot on a Canon 7D, so H.264 23.98 1080P.

Audio was shot with a Zoom H4N.

I was thinking it was a 44.1 – 48KHz issue but the uncompressed file from FCP is perfectly in synch.

[Jon Gagnon]

Yes, my friend just sent me a link confirming this.

Now my options are to encode it as 60i or convert to 24p. Any suggestions? I found this guide to convert to 24 p online.

Superb 30p to 24p Workflow

1. Cut video in 30 fps timeline

2. Create copy of finished edit so you’ll have two clips, one to convert to 24p and one to preserve audio.

2. Open Cinema Tool (part of Final Cut Studio), File, “Open Clip”, choose “Conform”, specify “23.98” to conform to.

Explanation: This keeps the same number of frames in the clip, it only changes the timebase from 30fps to 24fps, essentially creates overcranked footage by 6 frames, (desirable on some shots). As a result this makes the clip longer and slows the audio down which is undesirable where audio is important. At this point you’ve already created a copy of the original clip therefore preserving the original audio which we’ll relink later in Final Cut.

3. Now open the inspector window so we can do some tweaking. Under “Frame Controls” tab, click the button to the right of “Frame Controls:” to enable this feature. Once enabled, select “On” for “Frame Controls:” Underneath the “Retiming Control” section is where we’ll make changes. For “Set Duration to:” click the radio button where it will allow us to put in a duration. NOW THIS IS THE MOST IMPORTANT PART, OPEN THE COPY OF THE CLIP WE CREATED THAT STILL HAS THE 30 FPS TIMEBASE AND PUT IT INTO THE FINAL CUT PRO TIMELINE, DELETE THE VIDEO TRACK AND ENSURE THE TIMEBASE OF THE SEQUENCE IS SET TO 23.98, GO TO THE END OF THE AUDIO AND READ THE TIMECODE, THIS WAY WE’RE ENSURING THAT WE’RE RETIMING (SPEEDING BACK UP) THE CLIP SO IT WILL MATCH THE ORIGINAL AUDIO. This number is the timecode you’ll put into the duration field, (example01:08:01:06) then depending on how well you want the footage to look also taking into consideration the time it will require to compress it choose the desired quality under “Rate Conversion:”. I choose, “Best (High quality motion compesnation)” to get superb results, however this increases the compression time.

Important: Make sure that no matter which codec you use that it remains as a 23.98 fps timebase.

4. Now take the treated clip into Final Cut, we’ve already set up the sequence from step 3. Add the clip to video track 1, relink and presto!

I’ve extensively tested this and find it to be the best way to convert 30p to 24p for the time being, or atleast until and hopefully Canon comes up with a firmware to address the issue.

Additional Tips: If you have multiple clips to treat, in Cinema Tools, choose “Batch Conform” locate one file where all the files are located. Then setup batch conversions in compressor, if you have a quad core or 8 core configure Q master to take advantage of all cores otherwise it will take longer.

[Jon Gagnon]

Yes

NTSC – ccir 601

no field dominance

29.97
animation codec (there’s a few graphics)
I’ve also tried 8 bit uncompressed.

[Jon Gagnon]

Hello again,

I was wondering if you could post some before and after interlaced shots with the Filter/plugin you suggested before I pay for it.

Thank you very much,

Jon

[Jon Gagnon]

Yes thanks for all your help.

[Jon Gagnon]

high quality viewing is definitely enabled.

That worked perfectly, can you suggest some good de-interlacing filters, plugins?

One thing was that if I changed the entire captured clip to “None” in the assets window it did nothing. I had to change each individual clip on the timeline and re-render it for it to work.