Neil Patience
Forum Replies Created
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Have to say I dont know why this happens I have not heard of this before straight from FCP.
Has everything rendered OK before you exported ?A quick work around would be to bake the sections that are speed changed. Just export the sections of the sequence that are speed changed as self contained Quicktime movies then re-import them and just replace them. They then become just “standard” clips rather than speed changed and they should export fine.
Other than that I might try the usual restarts and preference trash but cant be sure it would fix that one.
best wishes
Neil
http://www.patience.tv -
Just curious as to why things were shot at 27fps – this is a non standard frame rate that doesnt fit any spec that I have heard of.
Obviously transcoding these to 25 fps is going to make them show up as 25fps in the browser but 27fps to 25 fps is bound to cause sync issues but I cant explain why some fit thats very odd.
I dont think its an elegant solution but do they fit if you speed them up by 8% ? (think thats the right maths)
best wishes
Neil
http://www.patience.tv -
I think you may be describing a ripple dissolve.
Have a look at this plug in – I think its a free download.
https://alex4d.wordpress.com/2009/01/07/final-cut-free-ripple-transition/
best wishes
Neil
http://www.patience.tv -
Ok I am in Pal land and always get slightly confused with NTSC frame sizes however I believe that the setting should be
Frame Size 720×486
Pixel Aspect ratio NTSC CCIR 601 720×480
Field dominance Upper
Uncheck the anamorphic boxYou should not use square pixels for SD.
Yes beta SP is upper field dominant.
I would transcode the 7D footage to ProRes using the log and transfer tool. (or whatever tool you prefer) Dont edit the H264 files you will end up with problems.
Sounds like you have already done this though.You did the right thing to say no to the sequence settings change.
You will have to render as FCP has to resize the HD footage to SD however it should playback in realtime (green bar on timeline) without rendering but will look poor quality until it is rendered.
The ProRes SD footage you have should just drop straight into the timeline without needing to render or change anything.
You could always start with one of these clips and say YES when it asks you if you want to match settings.
Finally if you have like 99% HD footage and just a few SD shots you may find it easier to edit in an HD sequence and then finally drop that whole thing into an SD sequence at the end and replace the few SD shots (to save double resizing them up to HD and back to SD)
You would have to make a judgement call there depending on how much you have of each format.
best wishes
Neil
http://www.patience.tv -
Footage that has been shot progressive is totally fine in an interlaced timeline. You dont have to interlace it as such as long as your sequence settings are correct – (upper field first for digi beta)
It pretty much is as easy as putting it into a ProRes 4:3 timeline. However you can decide if you want everything letterboxed, which will happen by default or centre cut out.
This will indeed interlace the footage but the interlacing will not be visible on your 7D footage as both fields are identical so it will not change the look of it at all.
(Just think of every movie shot on film you have ever seen on a CRT TV)The digi beta originated material will already be interlaced. So it will have a different look and quality to the 7D footage anyway.
Ironically you may find that de-interlacing that footage makes it match the feel of the 7D footage a little better. But it depends on the footage and the shots and movement within them. SloMo for example will be smoother interlaced. Just experiment with that to see what matches best.So as long as your sequence is 4:3 ProRes NTSC 29.97 then the rest will work fine – just resize your HD clips as you see fit and maybe deinterlace the digi stuff if it matches the feel of the HD better.
best wishes
Neil
http://www.patience.tv -
By default your render files will be in whichever location was set as your primary scratch disk.
If you select the unrendered clips on the timeline and right click you should see an option to reconnect media. This should show you online files, offline files and render files via 3 tabs top right. Select renders and it should list which renders are missing and the original location of those files.
You should then be able to locate that folder and relink your render files.However if you are having trouble with this it may end up being just a quick to re-render depending on how many there are of course.
best wishes
Neil
http://www.patience.tv -
I am not 100% sure but that looks like a Panavision lens so I am guessing something like these.
https://www.panavision.com/content/primo-anamorphic-primes
best wishes
Neil
http://www.patience.tv -
I think perhaps you have not approached this is the right way. But I am making a bit of an assumption about the effect you wanted.
In order to make your footage look fast or slow but still remain in sync you need to adjust both the speed of audio playback and shooting frame rate at the same time by a corresponding amount.
As an example, say you wanted your shots to appear slow motion, lets say half speed, but be in sync and your usual frame rate is 25fps.
You would shoot at 50 fps (double speed) and you would have to speed up the playback track by the same amount.
That way when both were slowed down again, the audio would be at normal speed and the pictures would apparently be at half speed but remain in sync.
What you have done is not adjust the camera shooting speed only the audio playback speed.
So although your artist was singing to playback slower than usual the only way that you can make it fit the track is by speeding it back up by the same amount you slowed it down. This simply cancels out the change in audio speed.
As Andrew says your maths is wrong – you need to speed it up by 11.1111% to return to 100% speed.
However this will just return it to “normal speed” and not really give you the effect I assume you were looking for.
best wishes
Neil
http://www.patience.tv -
Progressive footage viewed on an interlaced monitor looks fine. Think of every movie shot on film you have seen.
Although it is interlaced the fields are identical so the interlacing is not an issue.Sometimes you can have problems with progressive footage with things like slo-mo and interlaced can look better but generally as Andrew says its totally fine.
best wishes
Neil
http://www.patience.tv -
I have not quite thought this through and to be honest I am still not sure I am right because wont that just get you back to the original speed rather than your desired effect ?
What were you trying to achieve – the video looking slightly slow but obviously maintaining sync ?
I am not sure you can do this without a corresponding frame rate change in the camera as both need to match.
Doing one without the other doesnt quite work does it ?
best wishes
Neil
http://www.patience.tv