Joseph Owens
16
COW Coins
16
DaVinci Coins
Forum Replies Created
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Click on it.
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jack Bonnett] “Made the edits at 23.98p and exported to a new master.”
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If you made a 23.98 master, then when you send this to Compressor and use the (Fast) setting it should give you proper 3:2 pulldown, but only if you choose 29.97 interlaced, since the proper 2:3 cadence depends on the field progression.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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If its only 10 shots, I might almost be happy enough with the dpx scenes delivered in their own folders, add to Media Pool and re-imbed them in the Resolve Conform window. No muss.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Have you re-set the capture and video/audio render path to a fast enough drive (for sure not your root drive)? Dropped frames are usually a symptom of poor bitrate throughput.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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This looks like somebody cut-and-pasted the file support specification from their projector’s user manual.
Its less of a deliverable than it is a smorgasbord menu. Really, what do “SPDIF or RCA” inputs have to do with a Quicktime file? No wonder there is confusion.
It seems like you should filter through this list and match it up with whatever your native framerate, resolution, audio profile, etc., is the closest, and that’s what you send them.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Jeff Meyer] “10 bit or higher (HDCAM tapes,”
Just a little tiny quibble for rigor (maybe rigor mortis), but if we’re counting bits, HDCam is an 8-bit format, with HDCamSR being 10-bit. It seems out of character, since the HDCam format (DCT, same bitrate, except at 1440×1080-internal) is arguably an extension of Digital Betacam, which is also 10-bit.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Bret Williams] “Perhaps you should gift it to them on the app store to make a point. It really is more of a end user X process than a 7 user prep process.”
Whose responsibility it is to prep for someone else’s software choice is one we colorists face every day, and have been since the advent of the Apple COLOR and BM Resolve XML round trip Every new version changed the rules, subtly, or not, and it was, and remains, a total minefield. Even when you have educated an editor as to allowable processes, there was almost always another showstopper imbedded in the sequence. “Oh, I didn’t know that wasn’t allowed…” and frankly, very often, neither do we, until you can’t load the timeline without the app crashing halfway through the import, or “time code extents don’t match” and 20-30% of the clips are offline, or you get halfway through the final render, and…. *nothing*… or you get half the timeline back in FCP….
Whose “opportunity” is it to figure that one out? Yup, Cleanup on Aisle 7… Bring a shovel and a mop.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Shawn Miller] ” I hate rotoscoping. :-)”
Everyone does.
[Insert green square here]
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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There is a flag near the beginning of the XML that should read NTSC if you are working in a fractional frame rate. I started getting a lot of roundtrip XMLs that would create a 24/30 fps sequence on rebuild in Final Cut, but flipping that flag in a text editor fixes it.
Not completely sure what the absolute root cause is — whether or not its Apple that doesn’t realize there is a difference between 24 and 23.98. I mean, c’mon, you have to create 23.98 as a “custom” frame rate in Quick Time Conversion? Really? And if its “24”… I need more reassurance than that, because I have been dealing with that 1000/1001 for a very long time, and not always happily, thank you, telecine double-system pulldown DAT drifting sync.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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[Nedeem Al-Astrabadi] ” it looks like we might have to fit both cards in if we’re going to do this then!”
Apparently it is possible to run both a Decklink and a Kona in a frame, but if I recall the thread correctly, it utilized a “dual boot” which is not the apotheosis of convenience.
Something to consider (if the OLED doesn’t support multiple inputs) is something like the Flanders’ line, which has a back plane that is almost ‘anything in’… SDI, RGB, DVI, composite…. “A”-in would be your Dcklink, and “B”-in would be your GPU/desktop.
jPo
Ha, ha, I wrote “B”-in… groovy, baby.
“I always pass on free advice — its never of any use to me” Oscar Wilde.