[Mickey Power]

Hi Dave

I’ll have to experiment with this. Given the bulk of interlaced material, de-interlacing through compressor is not an option. Looks like I’ll stay with interlaced and then de-interlace on mastering.

Thanks

Mickey

[Mickey Power]

Well, almost all the footage I’ve shot over the last nine years has been 1920×1080 (or 1440×1080 50i) so there’s no question of uprezzing.

All of the finished projects are now going online as well as on DVD, which as I mentioned is now a back up for places without reliable internet.

My main concern is mixing any new footage shot at 25p with the older 50i footage. So the question would be, if I work in a progressive sequence, what happens to or how should 50i footage be treated?

Mickey

[Mickey Power]

Hi Dave

Thanks for your response. Do I like the look of 25p? Honestly, never been partial to it, another reason for not adopting it though I use it for straight-to-web work.

But, it’s the future, or at least progressive is. So how to integrate any new 25p footage shot (with my Sony F3) in FCP7?

Let’s say I finish the current crop of documentaries in 50i. I’m due to start shooting interviews for a new program soon and I know I’ll be needing a lot of new overlay so that’s probably the opportunity for shifting to 25p.

Do you have any preferred de-interlacing filters or strategies for mixing interlaced and prog footage?

Mickey

[Mickey Power]

I recall meeting you at the offices you shared with Swampy.

I thought Biscardi’s tutorials looked good but then I went cold on the idea of spending months training myself in Color, opting to stick to simple grading in FCP for smaller projects and go outside for bigger jobs. However, with slog and FCP7 I’m going to have to jump in. I have used Color regularly for fixes and one-off scenes, just not on something like the 30 min projects going on at the moment.

Once at the grading stage, would you recommend using a basic LUT in FCP across the whole project as a a first step de-logging pass before grading each shot individually?

Mickey

[Mickey Power]

Thanks for your info. I’ve already told my clients what’s going on with slog and no doubt they’ll forget and ask me about it later.

I was cautious going into shooting slog to XDcam and on certain low contrast shots I can see the pixel blocking. However, the cost of rigging a Samurai to the camera was not the issue, more about shooting solo and trying on one project to have the widest tonal range possible for filming very dark skin tones in uncontrollable light.

Are you editing in FCP 7 and then round tripping to Color? I’m trialling this, wondering about how filters and transitions applied in FCP finish up. Any tips?

Did you used to work in North Sydney with John Marsh?

Mickey

[Mickey Power]

Yep, I did mean DVD recorder. For a small investment, a DVD recorder saves a lot of time outputting timecoded camera footage. Technology’s old but still effective.

Mickey

[Mickey Power]

Thanks, I’m already capturing in DV and will set the sequence as SD prores422. It’s interesting how many people have recommended digitising in prores, swearing that it ‘looks’ better.

Mickey

[Mickey Power]

I’m taking the alternative SD route. The delivery format will be DVD and the new footage in HD will only constitute 20% of overall program so I’ll be downscaling the HD.

Is capturing to pro res from DV still worth it? I can capture directly from firewire or through my mxo2 mini.

Mickey

[Mickey Power]

Do what the soccer mom does. Hook up your camera – or hers – and output it direct to DVD with hopefully the screen info on it, inc timecode/counter.

I actually do this with my EX and F3 footage for clients and networks. Course it puts up info that’s unnecessary like voltage, pic profile, etc but the timecode’s there. The alternatives of ingesting in FCP, outputting with tc reader onscreen, compressing as mpeg2 are far too time consuming.

Mickey

[Mickey Power]

Hi Bouke

Tried the demo, thanks.I’ve followed the instructions and tutorial and can’t say I understand what’s going on.

I’ve been experimenting with 14 clips made via the Media Manager years ago. I happened already to have digitised the 2 tapes for this last year for something else.

So, I need to reconnect the 14 clips which are all titled:

etc
to the source file
I could do this manually but there are over 200 clips in the total sequence. Hence something like your app is ideal.

In your tutorial folder, Consolidate, are the files all aliases? The ones the app made for me are all only 12kb so it seems they just point back to the main file.

Mickey