Michael Gissing
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COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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Currently there are a number of frame rates. In the PAL world (which is by far the largest TV audience) the frame rate is 25 and only 25fps.
The NTSC world seems to thrive on having five frame rates – 23.976, 24, 29.97, 30 and 59.94. Conversion within those rates is fairly simple maths, but a right royal pain. The real pain though is going to 25 frames without hybrid fields or speeding up a program by 4.1% or slowing it by nearly 20%.
Best hope, if maintaining speed is required, is hardware conversion. The introduction of HD didn’t change anything because SD is concurrent and historic frame rates like 24 are still required. If anything HD has introduced more variables and complicated life.
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Good on you for caring to go to that length to resync. Most people don’t think sub frame matters. There are some of us who care and can see and hear the difference so thanks.
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People capture HDV into FCP from Sony cameras all the time. It is likely to be a menu setting in the camera like down converting to DV codec or ilink not on.
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I see no reason to telecine the film footage to anything other than an HD file @ 23.976. This file can then be used in the final online. If you can stay with the one frame rate that would be best.
RED Rushes is used to batch convert the RED codec to ProRes 422. I would stay with ProRes throughout. DVCProHD would only make sense if you had a lot of footage already in that codec from a camera source. Otherwise, ProRes is a better codec.
A lot of this sort of pre planning should be done with the online people to make sure you are not going to deliver them a headache. You should be talking to them. If someone approached me with a grade/online job and said they had worked it out with the COW forum without asking me what I want, I would be more than a bit miffed.
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It is the responsibility of thew editor to correctly select the system and A/V settings prior to editing. Relying on FCP to guess the correct sequence settings is poor management.
Having selected the correct settings, which is usually very easy to do by selecting the correct easy setup, copy the edit clips from the wrong sequence to the new one. Select all clips and remove attributes>distort & Basic motion. This will reset everything to the correct aspect and frame size.
Any reframing that you had done in the original sequence will need to be reapplied as Andy said.
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Start with the final delivery. On the basis of where and how the final product is to be screened, make a decision about frame rate and use only one frame rate. 1080 is best so stick with it.
As Arnie says, using multiple cameras with different base codecs complicates workflow and means everything should be transcoded to a base codec like ProRes. This will also determine hard drive requirements.
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HDV at 25 fps is 50i. The 25p mode is an in camera progressive fudge. The signal is 50i.
That should be your easy setup. Make sure the deck is on and load and play a tape. Can you see an image on an external monitor or thedeck/camera LCD screen? The deck should be setup in the menu to make sure it is correctly outputing 1080 via firewire, not downconverting to DV. Then start the Mac and open FCP.
Capture should work. If not try trashing preferences and restart.
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Grading in FCP usually means using an external monitor and an I/O card (Kona, Matrox, Decklink). You can’t judge color balance in the FCP viewer. It just isn’t acurrate. Also you will get difference brightness in playback depending on whether the mewdia playing is displaying the correct gamma setting. Computers often work to 1.8 gamma whereas FCP is working to 2.2 which is broadcast spec.
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Normally TVs with a computer input are VGA. I don’t know if the Macbook Pro has a VGA output. Usually a TV when switched to VGA has no sound inputs to the TV so running the audio through at the same time is usually not possible.
Expensive but best way to do it is use an AJA Io which gives you component and audio outputs from the firewire port of the Macbook. The cheaper Io express may be the ticket.
No point in going cordless. You can’t transmit decent pictures that way so there will be a cable to the monitor. Might as well run the audio in the same bundle.
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I don’t understand what you mean by “after color correction with RGB Balance of CC 3 Way”. Are you using the FCP 3 Way CC plus the RGB Balance filter?
How are you comparing the FCP color balance to the H264? Is it on the computer screen, quicktime on the computer screen or on an external monitor via an I/O card? How are you making the H264? What’s the deal?