Matt Lyon
Forum Replies Created
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Have you considered taking the “good” 29.97 master tape to a post house and doing the conversion through a high end terranex or similar?
Matt Lyon
Editor
Toronto -
[Matt wrote:
What I didn’t now and just learned from another post in another forum is that FCP degrades the color space]
Cool, I hadn’t heard that specifically, but it makes sense. I’m glad you’re moving forward with the Matrox purchase! I think you’ll be much happier in the long run.
-MattMatt Lyon
Editor
Toronto -
Hey Matt, I read your post a while back and meant to respond, but it slipped my mind. Better late then never, though!
I’m not a broadcast engineer so I won’t comment too much on colorspace, other than to say that rec 709 and 601 are STANDARDS, which codify HD and SD digital video systems, respectively. Part of these standards deal with color primaries and display gamma. sRGB is also a standard, and it is close to rec 709, but the gamma is slightly different (at least according to wikipedia).
The problem with the presets in the os x display control is that they don’t really relate to anything — just an imaginary monitor that might have existed in a lab somewhere at some time. Sure, you can set your display to D6500 and gamma 2.2, but until you stick a scope on the monitor and actually take readings of the real color temp and gamma curve, you are just guessing.
I would recommend renting or borrowing a display profile device, like a Eye-One. It will make you a custom display profile (aka LUT) based on your specified targets so you can be sure your color temp and gamma are spot on. I made two LUTs for my home machine, one for print work and one for video. I also change the brightness of my monitor when I switch between the two.
But there will always be colors that you’ll see on your computer monitor that will be out of gamut on a broadcast monitor and visa versa. Just like there will be colors on a CRT that won’t reproduce on an LCD.
Matt Lyon
Editor
Toronto -
Ah, okay… Thanks for the extra info. The scenario you are describing is pretty common. I\\\\\\\’ve done shows this way without problems.
You CANNOT mix timebases within an EDL … how would the program know which is which?
Your sound people will be conforming the audio initially in a 30 NDF project, since they\\\\\\\’ll have to ingest media at that TC rate.
Give them a separate picture only EDL at 24 NDF and they should be able to marry the two after the initial conform.
And the timecode numbers in the base 30 EDL aren\’t actually that far off. FCP Is just finding the nearest equivalent frame number. So 12 @ 24 fps becomes 15 @ 30 fps. 20 becomes 25, etc. So nothing is ever actually off by more than fractional amounts of frames. 23 @ 24 fps would fall somewhere between 28 and 29 @ 30 fps, for example.Matt Lyon
Editor
Toronto -
Carsten, are you using Cinema Tools to generate the EDL? You’re going to want to do a 30 NDF audio EDL, since that is the timebase of the source media. To be honest, it’s been a while since I’ve done this, but I never recall it being an issue. I would talk to the sound folks and you’ll probably find out it is less of an issue than it seems.
FWIW, I usually am asked to deliver OMFs first and foremost, with EDLs as backups (I suspect they are rarely used).
You should also give them reference audio, so they can ensure that sync is maintained during their conform.
Hope this helps,
Matt Lyon
Editor
Toronto -
Hi Trevor, you’ll probably get more responses if you start a new thread, since this one is pretty old.
But that being said the most surefire way to get everything to work more predictably is to convert your footage to one common format. But you need to post more info about your footage formats and frame rates. Certain footage, like the point-and-shoot material, may never stay in sync with the rest of the material, just due to the nature of the camera.
Matt Lyon
Editor
Toronto -
I totally agree … CONFORMING the frame rate is the way to go.
If you do this through compressor you also have to set the “retiming control” to “so source frames play at 23.98” (actually 23.976, as we all know).
If you leave the setting at “set duration to: 100.000% of source,” Compressor will create interpolated frames, which would likely create motion artifacts.
Matt Lyon
Editor
Toronto -
You can also try the “strobe” filter in the same menu.
Matt Lyon
Editor
Toronto -
I don\\\’t see any point in having more then one project. Bins don\\\’t add too much to the file size. Lots of sequences will though. Get used to versioning your master project a lot and purging old sequences.
In my experience, the assistant editor might have individual projects for each dailies batch, but the editor would never see those. If things do get unweildy, you could make projects for each reel, once you reach that stage of cutting.
I do, however, like to have a separate project for SFX libraries.Matt Lyon
Editor
Toronto -
option dragging doesn’t work for me either in FCP 6.0.6 … but it does work if I use the copy/paste keyboard shortcuts. But that usually means also having to muck about with the track targeting as well.
Matt Lyon
Editor
Toronto