[Mpigott]

“Well…. that answers the question a little better.

Your watching your finished 24p project on a 60i monitor. Any motion will appear “stroby”. That is the translation issue between 24 fps on a 60 fields per second monitor.

Have you viewed your HDDVD on a 1080p monitor? Chances are it will look stunning.”

Actually, I have never viewed it on a SD monitor; only on a HD 1080p
monitor; and the footage still looks strobey.

very odd

[Mpigott]

[Craig Seeman] “Odd because Shutter Off would likely increase motion blur depending on your frame of reference. It may depend on what the camera calls “shutter off” but that would mean shutter is at the frame rate. 1/30 for 30fps instead of 1/60 for example.

“Stroby” as in Saving Private Ryan is due to a very FAST shutter speed which is very much not the case with any camera I know of with Shutter Off.”

It was filmed at 24p and I checked the XDCAM Cinalta switch under the
lens and it was in the off position.
The footage was edited in Sequence:XDCAM 24p 35Mps VBR, so the sequence
settings are correct.

When a pan occurs even slow, it seems stroby to the eye on the viewer
and when a HDDVD is made, the strobe effect translates to the HDVD.

Also, all footage was brought in with the Sony XFer software, so it was an identical clone.

It really has me straching my head!

[Mpigott]

Could you please elaborate on what filter or setting I would load up
the XDCAM footage into in Motion?

[Mpigott]

Or instead of delete key; right click on the clip and click on delete
from the menu…it will leave all clips to the right in the same spot

[Mpigott]

[gary adcock] “Set the AJA control panel to output via composite and use the “green” component channel for the connection to your deck.”

Thanks, after I messaged, I read the manual.

I jumped the gun. All is good.

[Mpigott]

[Chi-Ho Lee] “You can change the cadence pulldown to suit your needs – In system settings>playback controls – you can pick from 2:2:2:4 to 2:3:2:3. You’re not stuck in 2:2:2:4.

You’ve been able to change this since v4.”

Err, I’ve tried all this…and the pans on 24p on a 29.97fps timeline
look like trash.

My workaround (extemely disk piggish) is to digitize from the video
out on the XDCAM to 10 bit uncompressed SD, which gives me an anamorphic 16:9 to my 4:3 timeline. The drop down to 29.97 on the
XDCAM is VASTLY superior to the “playback settings” you get with the
native XDCAM output from the SONY software into FCP.

When it is HD 24p to XDCAM timeline at 24p there are no issues,
but as most of our clients still run SD; this is the format of choice.

Anyhow I’ve moved on to the workaround and I am now replacing all my
XDCAM footage with anamorphic SD from the video out of the XDCAM.

[Mpigott]

[Sean ONeil] “Then you need to use a 3rd party filter to add 3:2 pulldown. Check out Nattress Standards Converter. Unfortunately this whole 4:2:2:2 thing that FCP does is awful, archaic, and just plain dumb. It is by far my biggest complaint about FCP right now – especially since FCP 6 was marketed as being able to mix formats. Please send them feedback on this issue.”

We have Nattress Film Effects like G Film and G Film Extra; will this do the pulldown that I require?

[Mpigott]

[Paul Campbell] “I’m dealing w/ a similar situation here. We shoot 1080p at 24 frames, which is ultimately destined for SD cable TV at 29.97. We also use the XDCAM, but I use the XDCAM Transfer app to import the footage from the flash cards. It’s been suggested to me that rather than doing this, I should use our Kona board to capture the footage, as this would help a great deal with the downconversion to SD before I bring it all into FCP. (The problem I’ve been dealing with is that the footage in FCP doesn’t look as good as it should, but I’m not quite sure why yet)

Is this what you’re saying here? Thanks,”

Yes, we bring the XDCam in through the Sony transfer sofware, I have
fiddled with the Settings/ playback settings/ Pulldown but none of the
settings make the pans look any good!

[Mpigott]

Quoted….
The problem is that when putting 23.98 on a 29.97 timeline, Final Cut does not add standard 2:3 pulldown. Instead it adds 2:2:2:4 pulldown. Their reasoning (presumably) is that adding 2:3 eats up too many computer resources for realtime video handling.

If you have a Kona or Blackmagic card, all you need to do is edit in a 23.98 sequence. The card will do the work for you by adding 2:3 pulldown on video output automatically. End Quote

We have A Kona 2 card but I am using the Pro Io card right now; as all my animation, titles, and other SD
footage are 720×486 29.97 frames per second.

If I switched to output on the Kona, my entire timeline would have to be re-rendered and God know what it would do to my standard def item!?

[Mpigott]

So you have a Sata solution up and running on a Power PC.

This is encouraging; my vendor told me there was no way unless
we upgraded to a Mac Pro.

Is is fairly stable; and what is the throughput like.