[Joseph Owens]

I’d export the DaVinci project so that the final grader could do a ColorTrace, but carrying the original Primary-Only corrections is probably equally viable, although it seems dicey that its going to be able to be carried all those steps — how visible is that part of the ALE, ie., that it is still resident and not corrupt?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

Seems a bit like putting the cart before the horse, but I’m sure you have your reasons.

It might be worthwhile to review the following white paper: https://fp.avid.com/resources/whitepapers/avidasc_wp_sec.pdf

For the most part, the main thrust behind developing the ASC CDL is to carry very basic, primary corrections through the offline process to a grading solution (like DaVinci), and not the other way around.

The CDL itself is limited to very rudimentary lift, gamma, gain adjustments — nothing that is not achievable in AVID’s correction tools.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Mathieu Marano] ” a 1090i9554 project”

One of the most bizarre settings I’ve ever seen.

But as far as enabling NR, you’re sure that your configuration is completely recognized, CUDA drivers, etc.?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

I’d be interested in knowing why you need this aspect ratio/ picture resolution. Custom display?

At any rate, it is going to cause all kinds of havoc inside FCP.– The reason why we have 720×480 as a basic format in DV is because it is an even expression within hexadecimal processing. When you start introducing all kinds of uneven operands, the computations go crazy. Don’t bother trying to send it to COLOR, for example. That isn’t going to work.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

You could argue that 1440×1080 was a kind of anamorphosis.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Dave LaRonde] “1080 has 59.94 FIELDS per second. 720 has 59.94 FRAMES per second. Big difference.”

Ah, yes ,the ABC network.

I guess its a matter of semantics whether 1/60th of a second is a progressive entity or half an interlaced 29.97 frame. So, how do the at-home viewers interpret 720P59.94 on their NTSC receivers?

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Nikolai Yurievitch] “I just keep the old iMac as an off-line suite since it still works fine and i see no need to replace it (or upgrade the sys :)))”

What I’m writing this on. Its a 1 GB RAM, 2GHz Intel Core Duo Tiger (not upgradeable as it isn’t a Core 2Duo, so new OS is a non-starter. However, this old honker has been plodding away for 6 years and could give the others a race for ‘favourite’.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Bret Williams] ” I’m surprised when I find editors that don’t own it”

We all have at least a few components, and if you don’t have Photoshop, I don’t know what to say.

DVD Studio Pro started freezing to death a few years ago, just when we really needed Apple to step up with BluRay support. For a long time, I stood outside the store gazing longingly at Encore, but you have to buy the whole suite to get it — but as soon the incentives kicked in, I clicked the “buy” button. I have almost completely ditched DVD Studio Pro. Encore is a little harder to navigate, but it sure makes up for it in operability — subtitles were a catastrophe in DVD Studio Pro, where the Adobe app just sucks them in and lets you do whatever you want with ’em. Make new ones up if you want.

Saying that, I’m not really a Premiere user (even though I learned a great deal about NLE with an early version). But there’s also nothing wrong with having a deep resource base of support applications.

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

So I won’t tell anyone about the “hook hand”… ;P

jPo

You mean “Old Ben”? Ben Kenobi?

[Joseph Owens]

[Dave LaRonde] “the conversion is simple: 3 frames, then 2 frames, then 3 frames, then 2 frames and so on.”

Wrong.

This is where all this disinformation gets passed along.

3:2 cadencing occurs at the *field* level, not frames. I don’t think Apple actually understands this, either, because Final Cut doesn’t do it right, and you certainly cannot drop a 23.98 edit onto a 29.97 timeline without it literally exploding. You can’t even export a properly cadenced Quicktime from FCP. Its really quite pathetic and amateurish.
They can’t even include 23.98 as a major rate in their “Easy Setups”.

This is how it works:

24 film frames, 30 video frames (would be easy, but as we all know, NTSC video frame rate is actually 59.94 interlaced fields per sec. So we pull down the film frame rate to 23.9759 fps.

Then we generate redundant fields so that 4 film frames occupy five video frames (= 10 video fields), in the pattern 2:3:2:3 fields. There is a way of describing the film frame sequence identifying the progression as ABCD. An “A” frame is the case where a single film frame occupies a single video frame (contiguous fields 1,2). The next 3-field sequence is a “B” frame, which is video frame 2 plus the first field of frame 3. A “C” frame, which is the one we want to avoid, is field 2 of the third video frame and field 1 of the fourth video frame. You can see why this one causes a lot of problems. Ending the cycle is the “D” frame which is field 2 of video frame 4 and both fields of the fifth frame. And just to be clear, these are frames 00, 01, 02, 03 and 04, in NON-drop.

It is as elegant as 1950’s electronics can be. It depends on interlacing. It is very difficult to see in the Final Cut timeline as FCP does not actually work in fields plus all displays these days are progressive and all you ever hear is the whining about the juddering and shaking and twittering. I have a crappy CRT sitting downstream just so I can see this. And you’d be left breathless with wonder at how often FCP messes it up. Think of another word for “messes” if you want to know what I think of Apple’s fudged kluges.
Panasonic came up with Advanced Pulldown, which is 2:3:3:2, actually an ABDA sequence, which does away with the problematic “C” frame, as all you have to do, to “remove the pulldown”, is throw away the middle video frame as it is a mixed-field frame containing information which already exists in the adjoining frames.

When you are working in Non-drop frame, it is easy to keep track of the A-frame sequence, especially if your crack telecine operator has done a proper A-Frame transfer (I’m harking back to actual film days)
and hit A’s on 00, 05, 10, 15, 20, 25 — and you can avoid C’s. Drop frame, however, skips forward in its count and the upshot is that the A-frame-to x5 correlation is lost after the first minute.

SMPTE spec is to start counting at zero, but with most FCP timelines beginning at DF 1:00:00;00, that actually works out to the first frame being a “C” frame. How’s that for unfortunate?

As a long-time telecine colorist, it is something that became ingrained with me in day-to-day operations, but I can understand how most video editors, who have recently had to start dealing with how to integrate different frame rates have not yet come to terms with this fundamental concept. But those days are past.

jPo

You mean “Old Ben”? Ben Kenobi?