[Joseph Owens]

[alex diaz] “Timecode of textless material must match timecode of the texted material on the master. “

This is very imprecise language, which I’m seeing more and more of in various deliverables contracts.

It could mean that the frame rate needs to be the same… it might mean at least the frame number must be the same…, but I have never been asked to replicate the exact same Hrs:Mn:Sec:Fr for textless over my entire career. I have been asked to provide visual time code in “handles” leading up to the textless element, I have been asked for one-second handles, clip-before+clip-after, guide audio… entirely textless masters, you name it otherwise.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Sebastian Howard] “the timecode at the very beginning starting at 09:58:20;00. This allows for the pre roll stuff to take place and for the spot to start at exactly 10:00:00;00. Al good so far.

But they ask for 59.94 fields per second. However, it was edited at 29.97. So we export a Quicktime Movie (not self contained), bring it in Compressor, export a ProRes HQ file at 59.94. HOWEVER, this shifts the starting timecode to 09:58:02;02…”

I’m assuming the 9:58:02;02 is a typo. It looks like a Drop Frame rollover error. Are you sure the originating sequence is displaying DropFrame?

There might also be a cheat available in Quicktime, where you simply change the TC within the clip.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Chris Jones] “Is the fact that in 1080 mode is not true 24p because the 24p frames are not spaced equally apart in time?

Meaning there are really 30 progressive frames (recorded twice – unless using 720 PN) but then 6 of those progressive frames are dropped to give you 24p? Which would give you (6) 1/30th of a second spaces of “missing time” during playback?”

Here we go again.

You should do a search for 3:2 cadence and all will become clear. The 1080/60 mode records a field/frame sequence that accommodates the 24 frames the camera is producing, with no gaps. The 1080i mode for this camera, AFAIK, is true 2:3, which will require a reverse telecine to recover a 24P base framerate. In 720P60, the 24 frames are recorded with an Advanced Pulldown cadence, which is 2:3:3:2. You can regard the 60 (or 59.94) as individual frames or the analogs of otherwise interlaced or segmented (sF) fields, as they would be in 1080 or 525. The trick to it all for Panasonic is the AP sequence allows them to flag the “middle” redundant 29.97 frame (of the 5), and simply throw it away on import, so you get a true 24P media stream.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

It sounds like a mismatch in settings, but the FCP Output preferences have to also match the sequence. There are some codecs that will not play out over SDI no matter what, like Animation.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Craig Seeman] “Since 1999, Hake has edited dozens of TV shows, movies, commercials, and shorts.”

Seems kind of “low volume”… *dozens*? for thirteen years of effort? Which is it, one- or is it two- a- year?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[andrew sableton] “Busy facility here and cautious about upgrading “

Upgrading can be somewhat unnerving, but take solace from the fact that Resolve is not Apple software.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[John Heagy] “The difference is that Resolve can’t “see” ref movies with multiple referenced files. They don’t load as offline but with black video in Resolve.”

This is Resolve’s gentle way of notifying the user that what they’re doing is invalid. It should be interpreted as “yes, we know there is something out there, but what it is is not useable in this application, so here is a placeholder”.

A reference movie can and should contain everything that can be added to a Final Cut timeline — media, generators, transitions, filters, and a very long list of other things that are absolutely not going to fly in Resolve. It is very much like attempting to imbed a nested sequence, which will cause Resolve to reject the project, not even a nice black placeholder.

Absolutely, Quicktime has to support all of this. Resolve supports some of Quicktime’s components, but it is not itself Quicktime, in that it also needs to interpret a lot of other media descriptors that are distinctly *not* QT.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Peter Berg] “With all the new users out there, I’m sure they are adding more staff to the support team so they can help the users of their [LITE] product.”

Loll.

No, I’m actually lounging (lolling) around here with a Caipirinha in my hand. Organic cane sugar.
Ah, cachaça… to heck with Montana, maybe movin’ to Brazil soon, gonna be a mental toss flycoon.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Juan Salvo] “Ive never expected resolve to work with reference movies…”

Me, either. The same with Apple COLOR — reference movies are a big no-no, since the relative addressing gets lost in the same manner as nested sequences cannot be represented inside that model. Where an application expects a direct address to actual media, it cannot cope with another pointer to another pointer.

It sounds like the shared storage needs to be expanded into a universally accessible database, so the project references can find the actual media. In a way, this is a bit like exporting a reference file to an external system that doesn’t even hold the originals, so the reference itself would be invalid.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Sascha Haber] “…and it should be cheaper”

The licensed software?

The least expensive part of the entire grade chain at the moment….

jPo

You mean “Old Ben”? Ben Kenobi?