[Juanjo Mora]

Thanks to everyone!

Talked with AJA support and what I want to do is just not possible, but found a workaround.

Regards,

Jj

MacPro 3,1
2x Quad-Core Intel Xeon@2.8GHz
4GB RAM
4x 1TB HDDs
MacOS 10.5.6
FCS 2
Adobe CS4 Production Bundle

[Juanjo Mora]

Hi to everyone!

I’m very grateful for your answers and feedback.

Sorry about my old signature, here are the details for my equipment:

MacPro
2 x 2.8GHz Quad-Core Intel Xeon
4GB RAM
4 x 1TB HDDs
OS 10.5.6

Now, in stand alone mode I get the ioHD to input 24psf without problems, the reason I need exactly 24psf is that this system is integrated into a larger facility and the material we work here with comes from an HDCAM deck that is set to record and playback at 24psf, the house tri-level-sync is also 24psf…

Using the AJA ioHD Control Panel I have no trouble at all ‘inputing’ a 24psf signal into the ioHD.

It’s in FCP 6 where I have trouble: there is no preset for 1080@24psf, only to 23.98psf and when I input the HDCAM signal in that setting it just gets digital ‘garbage’…

The facility video engineer refuses to put the machine into 23.98psf mode (I know the machine can do that) and insists in working at 24psf…

Right now I’m downloading the latest drivers for AJA ioHD and the latest updates for FCP…

Will reinstall and look for specific settings for 24psf.

Meanwhile any ideas?

Sorry for the long post! And again thank you vey much guys: I’m very grateful for all yur feedback and your fast answers.

Regards,

Jj

[Juanjo Mora]

Hi Gary!

My issue is that it doesn’t seem to capture at exactly 24 progressive segmented frame… not 23.98

Regards,

Jj

[Juanjo Mora]

Guys,

Thanks to everyone who answered.

I’ll have a meeting with my editor next tuesday and give her what she asks me for.

She is also reluctant to edit at exactly 24fps, she insists in editing at 23.98 even if I give her the info vía QT and not from a videotape originated from a telecine transfer.

Maybe I should clarify that the dailies from the production will be originated as follows:

The origin format is 3-perf 35mm.

From our Shadow Telecine we will capture 10-bit log DPX files at 1920x1080p at 24 fps via a 4:4:4 Dual-Link Bluefish-based capture station.

Then, this files will be processed in a Mac vía Pomfort Silver Stack and rendered into 1080@24p QTs in the HD-DVCPRO codec and given to the editor.

When the cut finishes we will take the cut list and based on that scan the negative via an Imagica Scanner (we have the 3-perf specific gate).

We are pushing the 24fps workflow and everyone (including the sound guy) is happy except the editor: she insists in working at 23.98… she works on FCP and insists 23.98 is better…

Why?

Thanks.

Jj

[Juanjo Mora]

Hi Shane!

Thank you for your answer.

In which editing app H.264 is a suitble codec for editing?

Regards,

Jj

[Juanjo Mora]

By the way…

Maybe its a good idea to add a forum about work health and safety?

What do you think guys?

Regards,

Jj

[Juanjo Mora]

Hi Floh.

Thanks for your very fast answer!

Does this apply also to the upgrade from HDe to HD suite?

Regards,

Jj

[Juanjo Mora]

Hi!

Just out of curiosity: which systems or software packages/capture cards do support this feature?

Thanks.

Jj

Media 100 XR v8.2
G4 dual 1.25, 2GB RAM
MacOS 10.2.8
Dual Monitor, Wacom Tablet
144 GB SCSI-160 RAID, ATTO UL4D
240 GB ATA Internal
1.5 TB External Firewire 800

[Juanjo Mora]

Ron,

Thanks for your super-fast answer.

Regards,

Jj

[Juanjo Mora]

Hi!

The way I found to make this better was to use Photoshop and After Effects: I’d make the text in PS (yes, you get a huge file) and then import it into AE and animate, precompose and add a “Reduce Interlace Flicker” filter.

You can also play with the “Shutter Angle” setting.

It’s more work but the resulting movement is more pleasant to the eye.

HTH

Jj