[Michael Freund]

omg you are right. one frame overlap of previous clip in above video track – as soon as i moved it, it worked.

thanks!

[Michael Freund]

https://blogs.adobe.com/premierepro/2015/09/ppcc-2015-update9-0-2.html

[Michael Freund]

i installed maverick on 2011 imac 27 inch. works amazingly well, the second display support with each becoming its own desktop is fantastic. many other things as well. speed on virtually every operation in all apps is noticably faster. CS 5.5 great. FCP 7 no problem. soundtrack pro ditto.

have not tried motion.

compressor 4.0 does NOT seem to open. which i use every day. compressor 3.5 does open, which i haven’t used in years. so i guess i am back to operability.

[Michael Freund]

could you tell me what you mean by manually change it? what is a flag? how? in AE or FCP?

editing a show for TV, sequence settings are no field dominance (because that’s how it came in from original xdcam footage, and thus i converted it into prores without field dominance) – AE editor supplying me with upper field dominant files, type ends up looking crappy.

any fixes other changing my entire 30 minute sequence, and converting all associated files into upper field? is there no other way to export AE files to make them without field dominance?

thank you –
m

[Michael Freund]

jerry,

i think i may have found the answer. i never bothered to actually look at those clips that the reverse telecine function wouldn’t do “automatically,” for more than a few frames. it turns out they all have different clips within them. in other words, they were captured with the “abort capture on dropped frames” unchecked. naturally the program doesn’t know what to do with them as they have dropped frames and the whole 5 frames scenario starts over and over again throughout the tape/file.

i presume my task is now to make individual clips out of all those “combined” clips and then run cinema tools on all of them separately, which should not cause any issues.

best,
michael

[Michael Freund]

i have read and re-read these sections several times. i cannot glean from this the description how you can actually tell the field dominance, in captured footage that did not originate in film and has a hole burnt in at the A frame. or footage that does not have window burn. i think i read somewhere the A frame is two frames back from the first interlaced one, but my editor buddy told me years ago it’s the second of the two interlaced frames.

in both scenarios, i would still not know which pulldown pattern to choose, or how to tell whether the video contains only field 1 or only field 2, or both fields and whichever of the two is the dominant one, or why it matters that i discovered the A frame in the first place.

p. 128 determining field capture information. etc.

i am sure it’s right in front of me, i feel i am on the verge of it, but i am not seeing it. any hint?

thanks again!

michael

[Michael Freund]

hi jerry.

thanks for your quick and comprehensive answer.

i think i am clear on reversing telecine on the 24p advanced footage (with only one interlaced looking frame) with the simple one-click cinema tools reverse telecine command.

i am not clear on the 24p normal footage (with two interlaced looking frames per five). the reverse telecine window that opens gives me the AA, BB, BC, CD, DD etc options, and as far as i can tell, i need to know which frame is the A frame, but don’t know how to determine that. there may be more i need to do – the whole field dominance situation. how would i proceed with this sort of clip?

and, will there not be an issue in my sequence/ timeline with some clips (24p reverse telecine clips) having field dominance and some (24pA reverse telecine clips) not?

interesting note, and i think i would agree given my experience, on 24fps qts for theatrical. that makes sense. and thanks for your comment on external monitors.

thank you again – that really helped.

michael