Michael Gissing
195
COW Coins
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DaVinci Coins
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Solve Coins
Forum Replies Created
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After converting the 3K red to 2k ProRes4444, open this file in Compressor and use frame controls to create a new quicktime changing the speed to play at 25 fps.
Use the same codec (ProRes4444). This new file will play as a slo mo.
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If it is only showing up on playback from tape, I would suspect a deck setting.
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I know he doesn’t sleep because he is often posting when I am and I am in Australia.
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In the grand scheme of things professional audio is a tiny portion of most broadcast budgets and probably the best value for money.
Honestly, find the money or be prepared for a whole world of pain because I do not get the impression that you know enough about audio and deliverables to do this yourself in FCP.
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I highly recommend you get a sound post production facility to tracklay & mix. FCP is a blunt instrument when it comes to audio editing and mixing.
Tight control of peak compression and limiting is required to meet broadcast spec and have the apparent loudness and punch of the programs either side of yours.
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Unless you need to go back to the FCP project with H264 files, I don’t see any advantage in the first workflow.
As you won’t be able to smoothly play in FCP until transcoded, I would find it easier to batch convert first and just bring the ProRes into FCP before adding reel & shot data.
Even though you intend to edit at 30p don’t forget to convert the audio to 48khz
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Blackmagic AVI doesn’t really mean much. What actual codec are they transferring to. The wrapper is AVI and that is a nuisance but will work with a render. Blackmagic is a card I/O company that supports hundreds of different codecs.
So the real question to ask is what codec, ( and @ what frame rate, timecode type and pixel aspect).
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I would shoot 50p to match the 50i footage better. Because you are converting the 7D’s footage to ProRes anyway for editing you can set it to output as 50i ( Never had to do it but it should be an option. Make sure it is upper field)
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FCP can work at PAL, NSTC and HD frame rates and pixel aspects. Your monitors and I/O cards (no specific hardware mentioned but I will assume you have something), need to be PAL/ NTSC auto switchable.
If ingesting from digi beta and playing out to digi beta, you will need to hire in an NSTC deck. Sony decks can playback NTSC depending on the model and the options but dual record in digi beta is not possible as far as I know. The humble J3 playback deck can be switched to NSTC or PAL playback.
The other catch is reference video needs to be switched to NTSC if you have a proper referenced edit setup which I would expect with a facility that captures and plays out to digi beta. Do you have a switchable reference video generator?
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[Dave LaRonde] “[Michael Gissing] “Actually Dave, the 7D can be set for proper film and broadcast frame rates unlike the 5D which is stuck on 30. ”
Sure. It can also be set improperly.”
Just like any professional camera. So one of your major complaints about Canon has been fixed. Sure there are many more issues to go.
Nothing we can do about operator error but we can’t blame Canon if 7D footage is shot at the wrong rate.