Joseph Moore
Forum Replies Created
-
I’m almost done with my first multiclip job, a four camera edit, but I converted the HDV to ProRes on capture. I was pleasantly surprised that every worked as advertised.
-
Ken Stone has a good, and current, primer on prepping FCP files for the Tube.
-
Definitely shoot 60i versus 30p. It is easier for a good de-interlacer to reconstruct spacial detail, than for a re-timer to reconstruct temporal detail.
Definitely get your shutter speed at 120 (or more if you can.) Motion blur that wouldn’t be there if you actually recorded at that speed will destroy the illusion.
Regardless, after you’ve conformed the new progressive frames to 24p, you can then use optical flow in Motion 3 to take it down even further. Optical Flow works best on progressive material, and the results can be amazing. It will take forever to analyze, but after that you can play with the timing as fast as your system allows.
-
I’m monitoring a 1080p24 ProRes sequence right now. Now, based on the video set-up choices, and what I see on screen when I start and stop the playhead, I do think that it is adding pulldown (1080i) It remains frame accurate with my canvas and viewer, though, so depending on your needs this might be “good enough.” If you need true 1080p output, I think you’ll have to move up the a more expensive solution.