Michael Gissing
195
COW Coins
190
DaVinci Coins
3
Solve Coins
Forum Replies Created
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If you use an external audio DAW, chasing timecode from the HDCam, you can take the load of FCP. Also if there is a glitch, then you can do an insert to fix it by using the audio insert edit capability of the HDCam.
FCP will not do proper inserts of audio as it doesn’t pre and post roll the source audio at the edit point, which means the insert cross fade doesn’t happen.
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[James Dow] “Is the frame rate the only difference between NTSC and PAL?”
No. The pixel aspect is slightly different in Standard Def. In HD it is only frame rate. PAL SD is 720 x 576. NTSC is 720 x 480ish. (sorry, I can’t help making jokes about NTSC – the worlds most hacked about TV format)
Also 25 to 24 frame conversion is 4% slower. Yes the audio drops approximately 3/4 of a semi tone which on atmos and voice is not tragic. Music is another matter.
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No FCP OMF’s don’t transfer original timecodes or reel numbers. An EDL does. However, if the audio was imported as a file and not captured from a tape, then the EDL won’t have any timecode or reel information either.
The industry has a major problem with file based sources in all editing systems when it comes to transferring useful information to sound post. The good old EDL is becoming useless with non tape based sources. This is a huge issue when reversioning.
The rationale behind not transferring source timecode in an OMF is simple. AVID, who developed the OMF format, made it possible for the audio to be wav, aif or SD2. Only SD2 had the capacity to embed the source timecode, so basically the source code info was not transferred.
I am not sure but the Automatic Duck more transfer is likely to transfer the source code info.
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[Andreas Eidhagen] “the commercials are shot on 35 then telecined to either HD or SD (HDSR or Digibeta)”
So the source material is psf, which is an interlaced frame with progressive segmented fields if you are at 25 fps on the HDCam SR.
The digibeta is also progressive in an interlaced frame, so I still don’t understand why you don’t use 1080 50i for HD and uncompressed SD because that’s what you have on tape. In each case you are upper field dominant
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I am sure the broadcasters for the commercials will want an interlaced final for the HD and SD is only interlaced so I am not sure why you are working with a ‘none’ timeline.
Your SD was surely shot interlaced but what about the HD?
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You might have to talk to Apple and /or Tascam. Sorry I can’t be more helpful. There are others here at the cow, who use the Tascam and might have ideas.
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To avoid the title being rendered as DV, I would drop the DV footage and the title into a ProRes or Uncompressed timeline.
I have used the Nattress deinterlacers which are much better than the FCP ones. Haven’t used Fields kit so can’t offer a comparison.
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Not sure as I don’t use a control surface, but perhaps it is the writing off lots of keyframes that bogs the system down. There might be a setting to reduce the number of keyframes written from every frame to say every three frames.
Do you have a grunty Mac & plenty of RAM?
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[Joseph Hung] “Does anyone know why the text looks WORSE when I render it out?”
DV codec. As was mentioned before, drop your timeline into a ProRes or even an uncompressed sequence.
Watch out for slo mo shots if you are changing from a lower field to upper field sequence. (This is mostly a PAL problem)
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Firstly for Dave & Dennis, as a telecine operator in the 1970s in a PAL country, I can assure you that the films were telecined straight off 24fps prints running at 25 fps. So they ran 4% fast and sound ran at a higher pitch.
These days it is possible to correct the pitch and the only two programs that I would recommend are Pitch ‘n Time or MPEX. I use MPEX3 and have often done final 5.1 mixes of films for PAL DVD releases. So if you are simply speeding up the 24 to 25 then the audio needs to be sped up 4% without changing pitch.