Kevin Hedin
Forum Replies Created
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Yes, 24p is definately preferable to edit with for all the reasons you list. What I don’t know is if any Panasonic deck is capable of recording 720p24. I understand that you can shoot that format, but can the deck record it? I think it can only record 720p60, in which case I’m not sure how to deal with that from an editing perspective. Remember that in my case, I’m starting with film and am trying to tell the post house what format I want them to record in.
FYI, I will also be digitizing footage via SDI through the KONA LH. If I HAVE to use firewire I will, but I prefer not to.
Thanks.
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Non-drop is perfectly fine with me as the videos I create are not usually for broadcast, and the TV spots I create are only 30’s and 60’s. Since I haven’t worked with film transferred to 720p, what will the tape look like? Since it’s progressive, will there be the familiar 3:2 pulldown? Are there duplicate frames to remove? In the end, I will want to edit both native 720p24, and also deliver 480i30 for SD. I’m trying to find a workflow.
thanks.
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I think your ad, while truthful as it might be, may shy someone away becuase your trying to contact talent directly. Any Model/Actor that is any good, or smart, knows to go through an agency for work. The agency can help you pick the talent since they usually have head shots of everyone they represent. The agency also helps screen bozos and pornographers away from the people who are legitimate and looking for good talent. Going through an agency is more comfortable for both you and the talent. I highly recommend it.
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Wow, I can’t believe I never saw that window. Thanks, that’s exactly what I was looking for.
I was thinking you were talking about the item properties of the clip, but now I see that each offline clips settings are accessed through right-clicking ‘clip settings’.
Veteral FCP user, but ALWAYS learning!
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Thanks for the XML/Excel tip, I didn’t realize you could do that.
As far as dragging clips one at a time back to the Log & Capture window, that’s exactly what I’ve had to do, but it’s a pain. I’m just now sure why Apple would remove that feature to be able to change those settings directly in the browser.
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Yes. On a large scale, DG FastChannel is a company that delivers a spots via FTP to thier own supplied servers located in virtually every broadcast station (not all, but most). If this is a small company selling these services they have probably made arrangements with all the broadcasters in the area to deliver spots via a private FTP server.
I’ve been actively trying to do this myself, but I find that trying to accomodate a dozen or more diffferent local broadcasters requirements is too much trouble for me. I would rather use DG FastChannel since I know it’s proven. BTW, DG FastChannel charges approx $23 per spot and $7 per spot thereafter to the same station via their service. Not bad really.
The time savings alone of having to make multiple dubs vs. FTPing 1 file is pretty significant.
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What is Mark to Markers? I’ve never used it, and searching Help returns no results.
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That’s just it, that option does not appear for me like it does when I REV TELE other footage. What is the footage telling Cinema Tools to prevent all those options from showing up. All I get is a smaller window that appears and says:
“Automated Reverse 2:3:2:3 Pulldown”
“Conform to: 23.98 or 24”
File New (smaller) or Same (faster)…..this option is greyed out
Check for cadence discontunuities….this option is greyed out
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When I park my head on an A frame and click ok, I don’t get properly REV TELE footage, there are still interlaced frame in there. -
Hi, I have a similar issue that Jon has, and I am trying Cinema Tools as you suggest, however, when I do a REVERSE TELECINE in Cinema Tools, it gives me an abbreviated set of options, allowing me to only choose the Conform frame rate. When it perform the reverse tele, it doesn’t do it right and leave a frame of interlacing even though I have chosen the correct A frame.
So far, After Effects has no trouble with this footage, but Cinema Tools does. I can’t explain this one because I have removed pulldown a million times before with other captured footage. The only unique scenario here is the P2 capture and import. Any suggestions?
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I’m surprized at you Bob, there are so many reasons to work at 23.98 that’s it’s very compelling for me to do so. Here are a few of the reasons.
1. 20% Less Storage Capacity for the same footage.
2. 20% Reduction in edit system bandwidth required (more realtime layers)
3. Ability to create true native 24p DVD’s (lower bitrates = more space)
4. Easier compositing, rotoscoping, etc.
5. Better looking web clips generated at lower bitrates.
6. Looks better on a computer monitor (no interlacing)
7. etc., etc., etc.Your edit system should be able to spit out 3:2 pulldown on the fly to your Decks, so I’m not sure why you are not a fan of 24p. I’m not sure what a Tri-level sync is, as I don’t seem to need one in my studio, so maybe I’m missing something here.