Neil Patience
Forum Replies Created
-
You are correct, if you conform the 24P drum shots to 25 they will no longer sync throughout the 5 mins or so. So yes it will mean a certain amount of repositioning shot by shot. As long as they are not too long you should be able to reasonably get them to look in sync but obviously they will be a frame out every second.
Changing 24 to 25 in Cinema tools will be perfect in terms of not giving any motion artifacts but the length will change. You could try speeding up the clip by 4% but this may introduce some slight “jerkiness” to the shot.
The problem with changing the framerate but keeping the duration is that something has to give in terms of a frame of 24 needing to be .96 of a frame of 25. So you often end up with some kind of repeat/interpolation/frame rate artifact that makes the motion slightly un-smooth.
Hardware standards conversion would do a good job but not going to be easy/cheap.
In terms of quality overall you are probably going to get the best result by biting the bullet and re syncing/retiming the drum shots.
You are right, sadly you were always going to hit this issue given that one camera was 24 and one 25.best wishes
Neil
http://www.patience.tv -
Have to say I partially disagree with Jessica. She is totally correct that mixed frame rates are a huge pain and ideally should be avoided. However if your video is going anywhere near TV as opposed the the net then 24 fps is a pain as you will need to get it all 25 again. All UK TV is 25fps. 24 is a film standard not a TV standard.
Since you shot on DSLR then all your footage will be progressive so you basically have some 25P and some 24P. Its not going to become interlaced if you use 25.If you reconform the 24 footage to 25 in Cinema Tools then it will be speeded up slightly. So you will get some sync issues but if your shots are short you may not notice. However the same will be true if you conform the 25 to 24, other than it will be slightly slowed down.
If you have a 25 frame sequence and it all looks good then I would stick with that. ideally you need to see it on a proper TV monitor rather than a computer monitor to make totally sure its all OK.
24 is fine for the net or if you need a direct correlation with film shot at 24. If TV is involved stick to 25 or it will come back to bite you somewhere down the line.
best wishes
Neil
http://www.patience.tv -
-
[Tim Wingert] ”
So, when you highlight 2 audio tracks and select “Stereo Pair”, it essentially hard pans left/right respectively?”Yes making a stereo pair will default to left/right panning.
[Tim Wingert] “would this be noticeable to the person monitoring the record at the KiPro? (Either on the levels meter, or in the headphones?)”
Its not always easy to spot this kind of error without proper monitoring equipment that shows audio phase, or the ability to simply sum or mono the tracks when monitoring. Headphones plugged into the camera would likely be in stereo so would probably mask this kind of error. Possibly could have picked it up if monitoring via a mixer that allows mono-ing of the monitoring.
If one side was totally phase reversed then you can more easily hear that in headphones or speakers but lesser degrees of error are harder to notice.
best wishes
Neil
http://www.patience.tv -
While wiring can be a cause of phase issues there are many more reasons why this might happen.
This article pretty much covers it.
https://www.soundonsound.com/sos/apr08/articles/phasedemystified.htm
best wishes
Neil
http://www.patience.tv -
It sounds like your audio channels were recorded out of phase.
So when you mono them they cancel eachother out, hence the low level.
When you pan them left/right for stereo the cancelling effect no longer happens so the level appears more normal.Depending on what you have recorded on what track you may be better off just using one or other as otherwise you may hit upon this issue later.
Or you can try phase reversing one of the tracks if you need to keep both.
best wishes
Neil
http://www.patience.tv -
[Jules bowman] “But a post house in Soho to me is Pro and their needs aren’t met as much by FC10.”
Jules is correct, in fact I would go as far as to say their needs are barely met at all. I am fairly sure the Soho post house in question is Evolutions TV. They certainly edited the last couple of series of Top Gear or if they didnt do the last one it was the two before that.
Anyway they are an Avid house that uses Baselight to grade.I dont know a high end facility house left in London now that is all FCP, there were a couple like Air Post that started as an FCP house but now have Avid. FCPX is yet to make any impact at all. It will be interesting see how long that takes.
best wishes
Neil
http://www.patience.tv -
ALT L will unlink then as a stereo pair and you can then simply delete the channel you dont need.
Or look in the modify menu and uncheck stero pair which is the same thing.best wishes
Neil
http://www.patience.tv -
Might want to give this a go
https://www.digital-heaven.co.uk/dh_counterI think it can go past 60 mins – not free but pretty cheap and you can try before you buy.
Hopefully it will work for you.
best wishes
Neil
http://www.patience.tv -
Hi Jason
You will be fine using MPEG Streamclip if Log and Transfer won’t play nice for whatever reason. You won’t loose quality using that.
You will easily spot the 50 frame stuff as it will be 1280×720 as opposed to 1920×1080 for the rest.Once you have transcoded all your clips you can indeed just import them into FCP 7. However the 50 frame stuff will play at normal speed if you just import it.
So what you need to do is conform the 50 frame files in Cinema Tools to 25.I would make a copy of them and then conform the copies, as you can’t go back to 50 should you need to for any reason. This takes seconds. Then import these files and they will play at half speed.
best wishes
Neil
http://www.patience.tv