[Michael Phillips]

I thought I read somewhere than when a drive is physically shipped across international boundaries, its media contents automatically convert to the local standard… 😉

Michael

[Michael Phillips]

As you discovered, earlier versions of MC needed Edit Protocol active. I believe that went away in v7 and is no longer needed for AMA linked files.

Michael

[Michael Phillips]

Just for fun I did a quick test of 25p to 59.95i and 23.976p to 59.94i. Keep in mind that is going from progressive to interlace and now viewed as full progressive frames. But it does show you the difference between the two conversions. When viewed on an interlace monitor it will be less obvious, but then I have to ask how many interlace monitors is content being delivered to these days? Interlace content on progressive monitors is subject to how the monitor can deal with it – some are better at it than others.

As you can see in the two screenshots, the 25p to 59.94 always has a blended frame regardless of where it falls in the cadence and you can even see a hint of a triple frame blend on frame _009. On the 23.976 to 59.94 it is a clean repeated pattern (2:3).

25p

23.976p

Michael

[Michael Phillips]

Should be mostly OK – it won’t be a consistent 2:3 cadence for every second, so depending on motion type it may have a “beat” to it. I’ll have to map it out and see what it looks like.

Michael

[Michael Phillips]

There are three different 25p projects to choose from:
PAL 25p
720p/25
1080/25

The 25p to 23.976 is a good idea as long as you can do a frame for frame (slow down) from 25 to 23.976, then the resulting 23.976 clip will have standard 2:3 pulldown applied to it which is the best you can expect quality wise. But mix and match default is to maintain duration, so you would have to manage the frame for frame slow down, and if there is sync audio, you would need to manage that as well.

Michael

[Michael Phillips]

Also make sure you be looking at results in green/green mode, and since interlace is your final delivery, look at it in an interlace monitor in order to make final quality judgements. Look at a variety of footage with different kinds of movement to get an idea of the final results.

Michael

[Michael Phillips]

And FWIW – a ramped motion effect still shows up in the EDL as a “block” meaning you have the IN-OUT of the source and the IN-OUT of the record side, and then an average playback as the M2, but of course none of the crazy stuff I did with the ramping as seen here:

The EDL looked like:

TITLE: RAMP
FCM: NON-DROP FRAME
001 MVI_2201 V C 00:00:51:01 00:01:51:22 00:00:00:00 00:02:17:09
M2 MVI_2201 010.6 00:00:51:01
* FROM CLIP NAME: 51B-1

But I will say that the AAF to Resolve conformed it perfectly. 🙂

Michael

[Michael Phillips]

And this EDL imported fine into Resolve 11, and correctly conformed with slomo effect applied.

Michael

[Michael Phillips]

It may be, hard to tell. May depend on system being used. Can they not take an AAF and see if that offers a better conform? As Shane mentioned, while EDL’s are still used, they really are last ditch effort compared to AAF or an XML as EDL’s are very limited in what they can convey.

Michael

[Michael Phillips]

Ramped motion effects and keyframes will not translate to an EDL, but a motion effect will. Here is an EDL from a basic slomo done to a source clip. The following is a CMX 3600 EDL:

TITLE: MOTION EFFECT
FCM: NON-DROP FRAME
001 MVI_2411 V C 00:00:30:00 00:00:31:02 01:00:00:00 01:00:02:01
M2 MVI_2411 012.0 00:00:30:00
* FROM CLIP NAME: 51G-1

As you can see, line 001 is the IN-OUT of the clip that was used (original length) and the record side is the duration that it must fill. In order to do so, an M2 command is listed that clip now plays at 12 (fps) starting at source timecode of 00:00:30:00.

Michael