[Matt Lyon]

Cody, how are you changing the render settings in FCP?

Make sure to go into “Sequence Settings (command-zero)>Video Processing>Motion Filtering Quality:Best” Also make sure to force your renders, (option-R), rather then let FCP try to play your effects in real-time.

I do a lot of panning and zooming with oversized stills (granted, they aren’t mov’s) and I can much better results in FCP then what you are describing.

For sure a higher end tool would work better, but you should not be getting blocky renders, considering your very high res source material.

Matt Lyon
Editor
Toronto

[Matt Lyon]

I think it will “work” in the sense that it will let you reconnect your media to the new files, but it will likely totally wreak havoc on your timeline.

You can duplicate your timeline, change it to 24P, select all the files, “make independent” then “make offline (leave files on disk).” Then reconnect your clips to the new folder of media. This way, it will leave your original 30P timeline intact.

But in the past I’ve done work like this manually, by eye, shot by shot. Not particularly fun 🙂

Matt Lyon
Editor
Toronto

[Matt Lyon]

No problem, happy to help!

I was thinking you might be able to “fool” Final Cut by dropping the graded clip into an empty timeline, then adding an appropriate amount of slug to the head and tail to make the timeline exactly the same length as the original clip.

Then export this as a self contained quicktime with “use current settings” selected.

Then try copying and pasting the speed attributes to this new clip. I haven’t tested this, but it might work in theory!

Matt Lyon
Editor
Toronto

[Matt Lyon]

Can you post a screen shot of your timeline?

It sounds like you are are razor-blading your clip into sections, right? Before you start copying and pasting attributes, make sure you’ve exactly matched the length and in and out points of every razor bladed section from the clip.

Also, if you are pasting speed attributes from clips whose SOURCE in and outs are different (for example, maybe your graded clip is just a smaller portion of a larger overall clip), then the speed attributes may not translate properly.

Hope this helps,

Matt Lyon
Editor
Toronto

[Matt Lyon]

Hi Adam, I /think/ I understand what you’re getting at, but it’s a little unclear to be honest 🙂

Did you try unchecking the “scale attribute times” option when you paste the speed attributes?

Matt Lyon
Editor
Toronto

[Matt Lyon]

To add yet another way of doing this to the pile:

You can also do your panning and zooming using the “Perspective>Basic 3D” filter instead of via the motion tab. Make sure it is above your widescreen filter in the “Filters” tab.

But I think the scaling quality of the “Basic 3D” filter is actually a little worse then the motion tab scaling. You should test for yourself before using this method!

Matt Lyon
Editor
Toronto

[Matt Lyon]

Also, if your h264 exports are looking \”way sharper\” then a DV/DVCPRO one, you probably need to turn on the \”always use high quality video setting\” in your QuickTime player preferences.

Matt Lyon
Editor
Toronto

[Matt Lyon]

In addition to Shane’s tip, I’ve had luck doing this:

Duplicate your target timeline, then “select-all” in your timeline and right click>”make independent clip”

Now try media managing again. You /might/ also need to copy your timeline into a new project (I don’t recall off the top of my head)

Hope this helps,

Matt Lyon
Editor
Toronto

[Matt Lyon]

[Michael Gissing on Nov 8, 2010 at 9:06:58 pm]

I have taken an OMF generated @ 29.97 and loaded it into my DAW, worked with a QT of the project at 29.97 and then synced the final mix perfectly with a 23.98 conform. That is a possible route to consider. Duration remains real time.

——–
I second that notion, Michael. After all, isn’t this the way films used to be mixed all the time? Edit @ 29.97–>mix @ 29.97–>add pulldown–>marry sound to 24 fps film print.

Minus the pulldown part, this workflow is almost exactly the same. I’d be nervous about copying and pasting my timeline into a different timebase for no apparent gain (that I can see at least — but maybe I’m missing something)

Matt Lyon
Editor
Toronto

[Matt Lyon]

My experience in the past with FCP real-time pulldown has not been good. Although it theoretically can do the job, it will often be inaccurate, especially on short shots. Because FCP is frame based, it can’t always mathematically do a perfect .1% pulldown, if the frame range of the shot is not sufficiently large or a proper multiple of desired speed change. I did this on a project and noticed it was rounding the speed change numbers off target.

So my advice would be to use compressor or Protools or similar to batch process your audio.

Also, make sure you have a 23.98 based SEQUENCE preset selected as your default in the “AUDIO/VIDEO SETTINGS” menu before you import you audio files. (look for the checkmark next to the sequence setting) This will ensure your audio clips are applied the right timebase upon import.

hope this helps,

Matt Lyon
Editor
Toronto