Joseph Owens
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COW Coins
16
DaVinci Coins
Forum Replies Created
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Check the Blackmagic Resolve configuration guide.
It is available as a pdf from their Resolve download site.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Ben Knight] ” Post Houses in LA will put it on digi beta tape and do a Teranex conversion for like $130…”
Oh, man, how do they make money or is “post” as a business model completely broken?
PAL conversion and DBeta master? $130 is a joke — may as well do it for free.
But do agree with Rafael — “Fast” is the way to go — same as with converting 23.98 to 29.97, that’s how you get field/pulldown, instead of re-computing every frame. However, the other way…. from original 29.97 –> 25 or 23.98 sans ABCD cadence is another can of worms.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Rafael Amador] “FC has a very well known bug that makes drift audio when the sequence when you edit the audio has a different time-base than the default sequence “
It will even map the waveforms on the timeline incorrectly, so even if you line up sync pops or other markers, it still won’t play in sync.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Bill Russell] “The removal of coursed messed up the resulting 23.976 clip and it is now unusable with random mixed-field frames”
Working through the math here…
What they started with was normal 2:3 field cadence according to what I am able to determine from the above. Typically that would be a SMPTE ABCD cadence. If there was an Advanced Pulldown removal applied (how did they do this?) which removes the third frame of every five-frame 29.97 or 59.94 group, what should result is 4 progressive frames. AP is 2:3:3:2, or SMPTE ABDA, so what gets removed is the third field of the B frame and the first field of the D frame, which are redundant and what you theoretically yield is an AAAA sequence. There is no C-frame in Advanced Pulldown, by definition.
What has been removed from the ABCD sequence though would have been the third field of the B frame and the first field /half frame of the C frame, leaving a mixed CD frame as the third progressive frame. This shouldn’t be random at all unless there is something else going on. As you step through the 4-frame sequence you should notice that it is always the third frame that is mixed and will interlace/dither.
I fixed something like this once with one of the Nattress smart re-interlace filters which pulled out the C-portion on the upper dominant, and removed the D-portion, which really calmed down the motion artifacts.
If this pulldown removal was performed as a batch process on an edited/baked sequence, there is really no hope of regaining a coherent segmented field sequence.
I can see the big question marks over the heads of everybody at Apple… Huh??? What’s a “field”????
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I get the re-link failed due to time code extents error a lot. However, when I actually grab the clips from the browser and manually plug them into the timeline, they fit perfectly, for some reason.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Depending on your budget, find a service that offers output from a Scanity, ARRI, Northlight, or even a diTTo, to cite some examples of devices that can image damaged archive film. It won’t be cheap, so if these are your home movies, maybe you’ll need to find some other method.
A couple of years ago, there was a popular YouTube video where someone built a “scanner” using Lego “Mindstorm” components.
There’s also Jeff Kreines and his Kinetta system in use at the Library of Congress.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Juan Salvo] “Not sure there’s an advantage to going back to source MXF on Canon stuff, if it’s just rewrapped XDCAM anyway…”
And there it is, and how it was decided to proceed. 8-bit. bleccch.
Although I will need to dig some stuff back out to treat at normal frame rate for some FX sequences.
NDF/DF should not have been an issue as the whole thing is 23.98. About 10% of all clips were in sync… 75% were one frame delayed, and the rest wobbled up to 6 frames out.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Never tried it.
Can you control the decks via Final Cut, your usual editing NLE (obviously not FCX) or Blackmagic’s Media Express software?jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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I’d like to follow up on this, as I’ve been messing with a similar re-link with Canon MXF source files.
Mostly I find that the sync wanders a lot and spend most of my time jogging the clips back into place.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Colortrace has not failed me yet.
Apple COLOR was like this with the initial project settings framerate. Frankly I don’t think about it all that much as about 99.9% of all projects are XML/AAF flow — settings automatic.
That you do ned to set an initial framerate I think stems from Resolve’s origins as a tape-to-tape and dpx processor, where on the one hand, the framerate was a hardware issue, and dpx file sequences have no intrinsic framerate, like film. Its just a frame. How many of them you want to display per second is up to you.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.