[Matt Campbell]

Sorry David, maybe I didn’t explain enough. I do have presets created in Compressor, but those MP4 files are not H.264 encoded MP4s. The ones I create in QT and FCP QT conversion are great and I want to create the same thing in Compressor because I have a lot to do. I can’t find anywhere in Compressor to select the Video Format of H.264 for MP4 files.

Does that make sense? The image below is from the QT conversion in FCP. You have the option to select H.264, MP4-Basic, MP4-Improved or None. I’m looking for that H.264.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks Jerry. I may have already fixed it. I had text and video on V1. The texted faded out to black and the video clip butted up against it. For some reason, when I make a color change it dropped from the viewer. So I tried moving the video clip to V2 and it seems to have worked. Indeed that was a weird one. thx for the reply.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

duh, I wasn’t thinking. that’s right. 720p. thx for the explanation. until next time.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks David. Sorry if I wasn’t clear, but I think I’m all good now with the footage I have. I was mainly just asking a general question for the future, just in case. But appreciate the response.

Jeremy, I do remember that previous post about the metadata flag and just wanted to be sure. Also wouldn’t just steping through the footage frame by frame help to determine. Since I see clean frames, I was certain it was 24p. I did not see 3 frames then 2 frames with fields.

“In tapeless dvcpro hd, you can only shoot 24p with pulldown. But in tapeless avc-I (with same camera) you can shoot 1080psf 23.976.”

Don’t you mean in a DVCPro HD TAPE workflow. Like the Varicam, 24p is recorded at 60p with pulldown and upon capture with FCP, FCP removes it for a 23.98 clip. Sound right? And with tapeless, you can, on some cameras, shoot 24PN or native 24p. Correct?

Thanks again gettlemen. You 2 are always helpful and really know your $&#%!

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks guys. I think I’m good with my footage but still have one question unanswered. Generally speaking, is it possible to have 24p footage recorded in 60i at 1080. Is this just like 24p DV material where the camera flags certain frames so FCP can remove them? I guess this is more with tape formats rather than solid state media, or am I wrong there too.

I’ve always just digitize solid state material and boom, what you see if what you get. The only tape formats I’ve worked with are DV. And I think thats been mostly 60i or 30p.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

I’m sorry for the confusion on my part. But isn’t just OK to change this directly in FCP under the Field Dominance in the Brower? If that is OK, wouldn’t that be better than sending all the clips through Compressor again, and have generation loss?

You mention there is a way for field interpretation. Do you another app to check field order or did you simply mean transcoding them and forcing progressive, as you mentioned. I wasn’t sure if something like After Effects would interpret correctly. Or even some 3rd party app like MediaInfo.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks David. So is there no real way then to interpret the footage correctly. My assumption is that because its 1080p23.98, that this is progressive. I didn’t know that camera’s could add pulldown to 1080 24p material upon capture. Or can’t they? I thought that was just DV material?

Anyway, I’m fairly certain this is progressive it came from a TV shoot. Just about all our vendors shoot, edit and finish in 24p. then upon creating dubs for stations, they’ll add in pulldown upon output to tape.

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

sorry also forgot to mention that when I overwrite the new, Upper field clip into a new sequence, and hit yes for having the clip match the sequence settings, it gives me a 1080 23.98 Progressive timeline. Is this correct?

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Not sure. How can I tell? I’ve stepped through a clip frame by frame and I see cleans frame, not pulldown.

I’ve also just tried to re-injest from the AVCHD clips DCIM card. I’ve got FCP Log and Transfer set to transcode to ProRes 422. The clip came in as 1080, 23.98, Upper (Odd).

Could be be similar to DV 24p. Meaning would the camera record at 60i and flag frames for FCP to remove, leaving me with 23.98?

I’ve never worked with footage like this before. What would my sequence set up be?

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card

[Matt Campbell]

Thanks Mark, I was unaware of that. I’ve never had to capture from HD-SDI nor can I. I think selecting Linear PCM 2 stereo from Compressor worked.

But I guess if I wanted to try your method, I’d have to use FCP, drop the uncompressed file in a new timeline and option drag to delete the blank tracks, 3 & 4. Leaving me with 2 mono channels, 1 & 2. Does that sound correct? Don’t think I can do this in Compressor.

And why when opened in the viewer does the uncompressed file show 16 channels but once in the timeline, only 4 come in?

OS 10.6.3, Mac Pro 2 x 2.66 ghz quad-core intel xenon, 16 gb ram, with BM Intensity Pro card