Michael Phillips
1
COW Coin
Forum Replies Created
-
NORMAL pulldown over FireWire in 5.5 causes a “C” frame field issue. This is what was replicated at Avid.
As far as correct frame setting, are you setting the “A” to 0:00:00:00 in the Film/24p settings?
Michael
anything 24fps
-
Just go to the reformat effect and apply one of the reset or the pan & scan as needed.
anything 24fps
-
OK, the miscadence capture was replicated in house and will be fixed in an upcoming point release. Any other information the slow down issue?
Michael
anything 24fps
-
I will send your posting to testing in QA to see if they can replicate this. Just a point to be clear on…
When you say 30fps – the sources are truly 24fps (23.976) with 2:3 puldown correct?
Michael
anything 24fps
-
Remember that TV black is 16RGB whereas graphics is 0. Go to color corrector and use the color sampler to check black levels for both the matte and the title sequence –
anything 24fps
-
Hey there…
The slow down is a different issue that the missed cadence. A couple of things to check:
Are you sure the down convert was done with “A” frame on 0 and 5 of a non drop 30 frame timecode?
Is the setting in Film/24p correct for the “A” frame relationship?
Are you properly set for NORMAL cadence (this is not self detecting).
Try logging the same clip (less than 30 seconds of motion) 5 times with the foll wing relationship:
:00 = A
:00 = B
:00 = C
:00 = D
:29 = B (minus 1 frame from the other clips)And see which one has the proper cadence. Make sure you are watching them back in green/green mode to get the full 2:3 interlace signal out over FireWire. If you are not in green/green mode then you are seeing 4+1 on the monitor due to the nature of the quarter frame display and its affect on 2:3 cadence.
Once you get that straight, we can work on the slow down issue…
Michael
anything 24fps
-
Most likely – check the overlay settings on the graohics card control panel.
anything 24fps
-
You might also want to try highlighting all the clips and going to “Modify” under the clip menu and setting a new timecode by adding or subtracting frames to the START or END and needed.
Michael
anything 24fps
-
Is your original material interlace? Is that the issue? And I now take it you are in a PAL country – so you should also be able to deliver them a 25p master for a film out as well. There are several programs that can convert 25i to 25p – DVFilmmaker, Magic Bullet, Boris, Algolith, or Avid’s own FluidFilm – there is an interlace to progressive preset.
Michael
anything 24fps
-
Lots of questions here that depend on workflow, lab, abd other proceses.
Avid systems remove pulldown upon capture so you can edit native 23.976 or 24 in the timeline. It will do this for either NORMAL (2:3:2:3) or ADVANCED (2:3:3:2). It does not matter to the Avid once captured whether the material was NORNAL or ADVANCED, those are just means to store 23.976 originated material in a NTSC signal.
Delivery to the lab is a discussion between you and the lab. Some can just take your Avid project and MediaFiles, others will take a series of sequential graphic files such as TIFF, some will take a DV master output with NORMAL (2:3;2:3) pulldown which can easily be removed as part of the upconvert process, etc. Avid can output back to DV or digibeta or whatever NTSC master as NORNAL, ADVANCED or NONE. NONE is for picture only output that has no pulldown with a 2:2:2:2 pattern. This results in the program playing back 25% faster but removes the need for a downstream program to try and find the 2:3 cadence in the NTSC for removal. Especially useful for animation that animated on 2’s and 3’s and sometimes 4’s etc. Detecting a persistent cadence in that is very difficult if not impossible.
I am producing a feature now that was shot DV25. My process is edit at 14:1 (capture over FireWire) as an offline, racapture at 1:1 over FireWire so I don’t have to deal with a decompress/recompress whenever I render or send frames out for FX work. Once I have an uncompress master (no color correction yet), I will send out to After FX for an uprez process using Algolith and saving out to DNxHD 175 (or you can choose 115 with Xpress Pro). I reimport this back into my Media Composer (the new software only version will do all this). I check my uprez for frame accuracy against my offline. From there I send to my lab where they can take the DNxHD files in their Avid Symphony or or Avid DS for final correction and output to my HD master. From the Avid DS, I can export DPX files for an eventual film out if needed by distribution.
See my website at ww.24p.com for a variety of whitepapers on process and workflows for film and 24p material.
Michael
anything 24fps