Michael Nichols
Forum Replies Created
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LOL…I did the cinema tools conform and it certainly is comical. The motion is smooth and nice, but I am not sure how I feel about the audio…Sounds like everyone sucked on some helium.
Is this really acceptable around the world for films acquired in 23.98/24??
Will the Teranex cause issues with the image?
Abel Cine Tech – Rental Coordinator
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212.462.0163 • mnichols [at] abelcine [dot] com -
Not so much concerned about the bars/tone as I am about the slate, since I will have to deliver 5 tapes with different slate information (PAL 4:3, PAL 16:9, NTSC 4:3, NTSC 16:9, 1080/23.98psf)
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
[Dave LaRonde] “I don’t know if I’d do that. Since we’re in the FCP forum, and since you’re an Abel Cine guy, I bet your editing machine has a Kona card in it. I’d just make the SD master off the existing timeline. The Kona card will add the necessary 3:2 pulldown to get to 29.97, and it’ll give you a choice between Letterbox and Center Punch to get it to 4×3 SD.”
Silly question, but if I do my NTSC version through the kona from my original sequence, that will mean I will need to assembly or insert edit my SD bars and slate from a 525 sequence, correct?
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Thanks guys. For the NTSC version, I do plan on using the Kona 3 from my original timeline. I could have phrased that a little better! I will try the cinema tools conform. Unfortunately, no Teranex for me, so I will see where the reconform gets me.
Thanks!!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
I graded my project in color, rendered to DPX, gathered the media and imported the DPX sequence into FCP with gluetools set to 23.976 and an easy set up set to 23.976. I re-imported the audio (which I now know conclusively that it was used in a 24fps Pro Tools sequence) and everything is in sync now! Thanks Jeremy!
Abel Cine Tech – Rental Coordinator
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212.462.0163 • mnichols [at] abelcine [dot] com -
I have an interesting idea: I checked the Pro Tools session and they are in fact, 24fps. What if I changed the Pro Tools session to 23.976, then go to FCP and send my timeline to Color. Render out untouched DPX files and gather the media and reimport to FCP with Gluetools set at 23.98 on import, along with the 23.98 easy setup. Then I import my audio stems exported from the new mix from the 23.98 project in pro tools. That sounds pretty golden to me!
Abel Cine Tech – Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com -
[Jeremy Garchow] “You have to start right to end right.”
Ha. Nice. Couldn’t have said it better myself. Gentlemen. I will rebuild it. I have the technology.
More evidence to suggest my 24 – 23.98 “conversion” doesn’t work is that when I send to color, the color sequence still says 24fps.
Abel Cine Tech – Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com -
That sounds like a LOT of work!!
It’s a feature with 21 tracks of audio (with music and efx) and over 1200 edits. Is there any way I can start a new project at 23.98, and use XML or EDL to maintain my edits for audio and video? It sounds like you’re saying I should rebuild my entire project?
Abel Cine Tech – Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com -
Honestly, I started working in 24fps because I was uninformed on the proper workflow and rather than research, I used my idiot logic “They are film scans, so of course I should be at 24fps!”
It was afterwards I realized the error of my ways and started a new project where I re-imported all my DPX stacks with gluetools set to interpret at 23.98 and rebuilt my edit. Although, my “rebuild” may have consisted of simply copying the sequence from the 24fps timeline and pasting it into the 23.98 timeline. I honestly don’t remember. It’s been over a year.
I realize that Audio doesn’t carry timecode and that FCP tags based on the easy set up (at least I think I do).
Abel Cine Tech – Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com -
While I can’t say I remember because I started this project TWO years ago (!!), I am pretty sure the audio was imported with with 24fps as the easy set up.
Abel Cine Tech – Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com