Michael Phillips
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COW Coin
Forum Replies Created
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You can try highlighting your sequence(s) in the bin and all the .new clips and do a “relink to selected” rather than just a relink.
Michael
Michael Phillips
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OK – half apologies as I think I am half wrong… 😉
HD to SD works as a downconvert from 23.976 to NTSC and adds 2:3 pulldown. I believe you still cannot:
– Insert edit a segment somewhere in the sequence and preserve original 2:3 pulldown.
– Change pulldown cadence of first frame of edit
– Create a PAL 25fos version from the HD 1080p/23.976.So if you need any of the above, and only need SD outputs from the HD QT, I suggested going to NTSC 23.96 directly so you have those features available.
Michael
Michael Phillips
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You might need to update the PACE drivers. That has been an issues that has cropped up with v5.
Michael
Michael Phillips
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Certainly keeping everything at 24fps keeps everyone at the same frame rate and 1:1 relationship to the sources without speed-up. If there is concern that the mix stage can’t work at 24fps, then I would make sure and speak to them beforehand – but in this day and age of HD video, that should no longer be a issue. It was an issue in the mid to late 90’s before a true 24p video standard and it was only SD and film. Digital Cinema spec is 24.000fps, so I am pretty sure they can make it work…
Michael
Michael Phillips
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Frame accurate digital cut and deck control for SD formats needs to be done from an SD project. If you are trying to output NTSC 23.976 with 2:3 pulldown (no speed up) and a PAL 25fps (4.1% speed up) I might suggest you import the QT directly in a NTSC 23.976 project to start then output to both formats from there as needed.
You can do the HD step first, but you will most likely end up transcoding to NTSC 23.976 anyway to make the outputs since you cannot do SD deck control from an HD project.
Michael
Michael Phillips
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If all source elements were recorded at 24fps, then you should be in a 24p project. Since I see 25fps being mentioned, I assume we are talking 24.000 and not 23.76. Create a 1080p/24 and import sources. The START timecode column will track all picture and sources. If a common timecode was used, then AutoSync will create new subclips that are both V+A. EDL’s generated will reference each source individually if needed.
When importing audio, the Media Composer sees the 48kHz rate and asks what the timecode rate is – based on the user entry, the timecode is calculated as a “samples from midnight” offset. If you select 24 you will get one value, and if you select 25 you will get another (4.1% difference). This is the metadata being changes while the sample rate stays the same so change in duration or pitch.
Michael
Michael Phillips
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Yes, that is what I was asking. Unfortunately that is not as straightforward to create an “FCP like” EDL when transcoded directly in Media Composer. I did work with the RED team to make the appropriate metadata settings when using REDCINE-X/
Now the question becomes, do you really need to go back to the original R3D files or are you happy with the current starting point (image wise” you have with your transcode to an Avid DNxHD format?
Michael
Michael Phillips
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You didn’t answer the first question as to how the DNxHD media got created. That will tell whether it is relatively straightforward or not.
Michael Phillips
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How were the dailies made for Media Composer? I don’t believe that Apple Color supports the 16 Character EDL format like all the other grading systems on the market. It does support the truncated 8 character format that FCP generates where the full filename is in the *comments line.
With v5 of MC and dailies created in REDCINE-X, a workflow was enabled that put the truncated 8 character format in the Camroll column so that such an EDL could be created. Source = Camroll, and Labroll into *comments.
In theory – that should allow Apple Color to conform to the original R3D files giving you full flexibility in control over image.
Michael
Michael Phillips
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For a 2D image in the source/record monitor, go to your composer settings and set stereo to be Left or Right.
Michael
Michael Phillips