Mark Spano
Forum Replies Created
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Jerry,
Unzip and put this in your home/Library/Application Support/Compressor folder:
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[jb yong] “FSH: 1920 x 1080, (60i*, 17 Mbps)”
not sure what you mean by lower res / not HD. That looks like full res / HD to me. Unless you had a requirement for not shooting interlaced, I don’t see why this would not have worked…
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Jerry,
Compressor works extremely well in adding proper 3:2 pulldown. I usually set the audio controls to “Pass-through” so no encoding is done on audio and it comes out fine. The key to getting the pulldown accurate is through both video encoding settings and frame controls settings. In video encoding, set the frame rate to 29.97 interlaced, top field first (for HD). In frame controls, set all values to Fast, and set the output fields to top first. Takes a bit of time, but not too long, and you’ll wind up with a 29.97i clip with proper pulldown.
I have a preset I can share if necessary…
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In my experience (using KONA hardware with FCP) you can capture Dolby E tracks and output them back to tape with no issue. Don’t punch though – if you’re going back to tape, you need to have a continuous E stream, so start well before the program and cut out well after.
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FCP is notoriously terrible at handling this type of mixed rate workflow. I would have shot them both at the same rate (yes, there is an option for 30fps on the GH2 according to Panasonic’s tech specs. That being said, your next simplest option is to cut at 30i, and add 2:3 pulldown to all of the 24p footage before you add it to the edit. Otherwise if you just drop it into a 30i timeline in FCP, it will add 2:2:2:4 pulldown, and that looks terrible.
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That pattern you see means that it is NOT 29.97PsF. That means that it is 29.97i. PsF would mean that every frame is comprised of two identical fields. This is plain interlaced footage, with 2:3 pulldown added to get from the original 24 frames to 60 fields.
[Andrew Saliga] “The client has requested to have footage converted back to its original framerate. What’s the best/proper way to go about this?”
You can use Cinema Tools or Compressor to “Reverse Telecine” the footage to get back a true progressive 23.976fps file. Compressor can usually detect the cadence automatically, so I’d try that first, and if you have problems with blended frames, use Cinema Tools which gives you manual control over the cadence detection.
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I haven’t had a chance to test yet – been quite busy (luckily). When I do I will post here.
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I’ve never seen that happen – but I have seen weird QT refs out of Avid if I don’t check the “use network references” in the export dialog. I’ll have to do some tests to see if I get the same behavior as you.
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If you have Compressor, you can add the watermark in the encoding process. I think some other applications have this feature as well – but Compressor is what I use for this (under Filters / Video / Watermark).
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Apple ProRes 422 (either standard or LT). This will be a significant savings in file size without noticeable compression artifacts for your footage.