[Michael Kellam]

Thanks, Lance.

So is converting to ProRes better than cutting native h.264 if you’re planning on doing color grading?

I am unclear – One you convert to ProRes, does it stay ProRes all the way through the process or do you then have to convert it to something else once the edit is complete? I keep hearing it called an “intermediate” codec, which suggests that the end product is something else.

Thanks again for answering.

Michael

Michael Kellam
https://www.kellammedia.com

[Michael Kellam]

No worries. Thanks for what you were able to share. CreateSpace said they don’t do HD and don’t know how it gets on there! 😉 I felt like I was talking to someone from a different company! 😉

Thanks again!

Michael

Michael Kellam
https://www.kellammedia.com

[Michael Kellam]

Hi Jonathan,

Thank you. That is helpful. How would you suggest contacting Amazon? I have tried their regular contact form/link, Amazon CreateSpace and Amazon Services and nobody at any of those places seems to have any answers about Amazon VOD submissions. CreateSpace can give canned answers about VOD, but only for SD content.

Thanks again!

Michael

Michael Kellam
https://www.kellammedia.com

[Michael Kellam]

Hi Kev,

Thanks for your answer. I wasn’t sure if that would work for the full 1080i video since it shoots a lot more frames per second so I bought a Lexar Professional 600x 32GB SDHC UHS-I Flash Memory Card, which works great and was *much* elss expensive than a 700x card.

For anyone who is shooting 1080 video, I did find that the 600X Lexar SD card works flawlessly, but when you remove files, you have to reformat the card. If you selectively delete files, the camera can no longer maintain the high write speed and you’ll only get short video clips before the camera can’t keep up.

Thanks again for responding, Kev!

Michael

Michael Kellam
https://www.kellammedia.com

[Michael Kellam]

Oops, I realized there is a specific forum for DSLRs so I re-posted there. Sorry…

Michael Kellam
https://www.kellammedia.com

[Michael Kellam]

Hi guys,

Thanks for your suggestions. I’m sorry I didn’t post back sooner. I had to go out of town.

Initially, a friend suggested that I create a 29.97 sequence, copy the clips from the 23.98 sequence and paste them into the 29.97 sequence. I thought this worked, but it messed up all of my variable speed clips. (I noticed that the slow motion spots contained the wrong b-roll. It was very strange.)

I tried several things based on your suggestions, but in the end, I created a 29.97 FPS sequence and re-cut the sequence. I took the old one, opened each clip in the viewer and placed them individually in the new timeline, using the in and out points from the 23.98 FPS EDL. For the things where I applied a motion effect (slow motion) I had to eyeball the original clip and re-do the slow motion.

This was definitely a learning experience! 😉 Thanks for your help!

Michael

[Michael Kellam]

Hello All,

Is it possible that I can use the following process in After Effects to fix the footage, even though the 29.97 was never film at 24P? If I “remove 3:2 pulldown”, might after effects create something that fits with the 23.98?

Michael

***From After Effects Help***

Removing 3:2 or 24Pa pulldown from video transferred from film or DV cameras

It’s important to remove 3:2 pulldown from video footage that was originally film so that effects you add in After Effects synchronize perfectly with the original frame rate of film. Removing 3:2 pulldown reduces the frame rate by 4/5: from 30 to 24 fps or from 29.97 to 23.976 fps, which also reduces the number of frames you have to change. To remove 3:2 pulldown, you must also indicate the phase of the 3:2 pulldown. (See About 3:2 pulldown.)

Before you remove 3:2 pulldown, separate the fields as either upper-field first or lower-field first. Once the fields are separated, After Effects can analyze the footage and determine the correct 3:2 pulldown phase and field order. If you already know the phase and field order, choose them from the Separate Fields and the Remove Pulldown pop-up menus in the Interpret Footage dialog box.

After Effects also supports Panasonic DVX100 24p DV camera pulldown, called 24P Advance (24Pa). This format is used by some cameras to capture 23.976 progressive-scan imagery using standard DV tapes.

To remove 3:2 or 24Pa pulldown from video:

1. In the Project window, select the footage from which you want to remove 3:2 pulldown.
2. Choose File > Interpret Footage > Main.
3. In the Fields and Pulldown section, select Upper Field First or Lower Field First from the Separate Fields pop-up menu.
4. Do one of the following and click OK:
* If you know the phase of the 3:2 or 24Pa pulldown, choose it from the Remove Pulldown pop-up menu.
* To have After Effects determine the correct settings, click Guess 3:2 Pulldown or Guess 24Pa Pulldown.

Note: If your footage file contains frames from different sources, the phase may not be consistent. If this is the case, import the footage once for each phase. Then, add the footage to your composition as many times as there are phases and trim each layer to use only the appropriate frames for each phase.

[Michael Kellam]

David,

Thanks for your suggestions.

>>Scenario 2. You are finsihing 23.98 (aka 24P) ( this mode is nessesary for a film out)

>>Capture all of the footage using the DV NTSC Advance puldown removal preset.

This is what I was attempting, though in retrospect, it would probably have been easier to capture all as 29.97. I captured both the 23.98 and the 29.97 using the DV NTSC Advance pulldown removal preset. On the timeline, everything looks great, but on an NTSC monitor and on a test DVD I burned, the 29.97 was messed up. I checked and even though I captured the the 29.97 using the DV NTSC Advance pulldown removal preset, the system still considers it 29.97. I’m not sure if capturing it using the DV NTSC Advance pulldown actually did anything to the 29.97. I wondered if the FCP looked at the data and said “Hey, this is 29.97” and left it that way. In any case, using the Advance pulldown removal preset didn’t help with the 29.97 footage.

Even though the system recognized the 29.97 footage as 29.97, since it required me to render, I hoped it made the conversion as part of the render, but this didn’t work. Is there any chance it would convert it if I played it out to tape? If so, I could recapture and make the DVD from one clip.

I don’t have a KONA, but I have another project where I captured all the 23.98 footage using a regular 29.97 DV/DVCPro NTSC preset in FCP and it seems to be fine. Unfortunately, the project I am having the problem with has lots of footage at 23.98 and just a few clips at 29.97. It would be no big deal if I founf a solution that required me to recapture all of the 29.97 footage, but it would be catastrophic if I had to recapture all of the 23.98 stuff.

Don,

I’ll read the article you posted. I would like to try the Nattress solution, but I’m not sure I’ll get a green light to buy the plugin. If they were paying me more for this project, I’d buy the plugin for my personal system and try it out. Still, I’ll try to persuade them if I can’t find another option.

Any other ideas?

Michael

[Michael Kellam]

Hi Bogiesan,

It did occur to me to do something like that, although I don’t have a lens for it. Unfortunately, it was a borrowed camera and when I bought it, the owner wanted to keep the lens. Still, if the price is too low, it might be a consideration.

I personally like the tiny tools idea. I had an engineer tinker with it for a while and he managed to get the tape out. I’d like to look at the tape just to see the last moments of the camera… I don’t know why. I guess I’d just like to see the “Money Shot” 😉

Thanks again!

Michael

[Michael Kellam]

Thanks, zrb123. I’ll check over there to see if I can get a good idea about its value. That will be a great help. Thanks for suggesting it!

Michael