[Mike Most — account bouncing, bad address]

Your bigger problem is making everything 24fps. This can be cleaner if you do it from the original sources than it is if you’re doing it from a final edited piece.

[Mike Most — account bouncing, bad address]

I don’t want to belabor this, but….

I don’t know what you were looking at, but it’s clearly not what I look at every day on our 2K Pluses. There is not one round widget on there, and no video displays. The only similarities are a timeline and some vertical bars. And none of them are directly manipulated with a mouse. The Lustre, however, does have round widgets with multiple vertical scroll bars next to them, all available for mouse manipulation – very much like Color. That’s why I mentioned similarities.

[Mike Most — account bouncing, bad address]

>>Go look up a daVinci Color Correction System. Look at the screen shots. Looks almost>> identical to Color.

Huh? The DaVinci user interface doesn’t even remotely resemble that of Color. In fact, I can’t think of one widget that’s even somewhat similar.

However, on the other hand, there are a number of instances in which the interfaces of Color and Autodesk Lustre are quite similar.

[Mike Most — account bouncing, bad address]

Please note that in the previous message, every time I referred to “24p” I’m actually talking about “23.98.” Personally, I don’t see any reason for one to use “hard 24” if one is working in the US, it just confuses things.

[Mike Most — account bouncing, bad address]

Your problem is that you shot the piece in 24p “standard.” Final Cut cannot remove pulldown from 24p Standard. If you used the 24p capture setting, it assumed that you shot using 24p “Advanced,” which does use a 2:3:3:2 cadence. That’s why you have what you have. There are two ways of handling 24p standard material in Final Cut. One way is to capture and cut at 29.97, which would actually work just fine. The other way is to remove the “standard” pulldown using Cinema Tools, which would have given you the clean 24p clips you were expecting.

If you want to “fix” this, you don’t have to recapture everything. One solution would be to export a 24 frame EDL, convert it to a 30 frame EDL (using Cinema Tools), then recapture the original material – in 29.97 – as necessary. You might have to slip a few cuts here and there, but that should work. If you wish, you could recapture from the EDL, remove the pulldown in the newly captured clips using Cinema Tools (this is not that straightforward unless you capture everything beginning on a timecode that ends in either 0 or 5), then relink the 24p sequence to the resulting 24p clips, adjusting as necessary.

One would think that Apple would have solved this issue by now, especially when one considers that Avid has been able to remove “standard” pulldown on capture using software only for at least 2 years.

[Mike Most — account bouncing, bad address]

In Miami:

Cineworks Digital Studios. We posted the Ricky Martin concert done at UM’s Bank United Center for MTV (shot on HDCam), as well as a number of other multicamera productions.

[Mike Most — account bouncing, bad address]

Walter, frame rate has absolutely nothing to do with drop frame and non-drop frame time code. Drop frame is a time code counting sequence (NOT a frame rate) that skips two frames each minute except for multiples of 10 minutes. Although drop frame time code was conceived in order to make the time code on NTSC color video equate to real time, it is not married to any frame rate. You can have 30 frame drop frame, and you can have 29.97 non-drop frame. And both of those variants have been used (mostly in the past, but still…) for various reasons.

And in terms of running time vs. number of frames played, 29.97 and 59.94 are exactly the same. It has just become more common to refer to NTSC and 1080i/60 HD as 29.97. The primary difference between 1080i and 720p is the “p” vs. the “i” – one is progressive (60 actual frames) and the other is interlaced (60 fields). But none of this has anything whatsoever to do with drop frame and non-drop frame time code.

[Mike Most — account bouncing, bad address]

The only card that can currently cross convert between 1080 and 720 on the fly is the Kona 3. Blackmagic cards cannot perform that conversion.

[Mike Most — account bouncing, bad address]

That is incorrect. Avid will happily read MXF files from, say, an HVX200, and that may be what the person who told you this is talking about. The Quicktime DVCPro HD codec was written by Apple, and is only available on the Mac – and then, only when you have installed either Final Cut Pro or Shake.

It’s easy to get confused today about what codecs different programs and platforms support, especially when the same codec is supported on multiple platforms but under totally different circumstances and in totally different file formats. The only way I know of that any Avid system could access DVCProHD Quicktime files would be for the Avid program to be on a Mac that also has Final Cut installed. In that case, the Avid program should be able to read the Quicktime files and import them into Avid compatible MXF’s.

[Mike Most — account bouncing, bad address]

It’s not pointless if you are color correcting for a film recorder in a proper DI environment, and using properly calibrated 3D LUT’s to simulate the resulting film print.

I would, however, venture to say that very few people here are doing that. And they’re most certainly not doing it on Final Cut Pro.