[Neil Sadwelkar]

I’ve answered your DPX question in a later post you sent.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

You can place the m2v files in a DVD Studio Pro timeline, put markers where you need to split the full program, then have buttons in a menu jump to the marker and play.
If you want to viewer to be returned to the menu after the chapter has played out you can set up an end jump.

You could also put markers on the FCP timeline and export with markers which are then visible in the m2v and DVDSP can use them.

FCP cannot edit an m2v. This facility has been disabled probably to prevent easy piracy of commercial titles.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

[Adam Claude Jones] “But here, since DPX has no timecode I’m not sure there’s another way besides doing it manually.”

What is the source of your DPX files? Are they scans coming out of a scanner? In that case the DPX files will normally have some time codes embedded in them.

You can convert these DPX sequences into QuickTime ProRes files in Color. Color creates Quicktimes which carry the same timecode as the DPX. Maybe if the DPX have some source info that too will get carried into the QuickTime.

You can then edit the ProRes files in FCP and make an EDL. This EDL in Color can reconnect back to the original DPX. You can then render out the DPX into new sequences, this time with handles so you have new DPX sequences that have only the used files not the original DPX length.

VFX can work on these and send them back to you. Then you can again use Color to create ProRes files.
FCP may not reconnect these ProRes files back to the sequence as now the length has changed. Depending on the number of shots, you can either plug them in manually (you have visual reference so it’s quite easy)

If the number of shots is large, you can use FCP Reconnect to reconnect. That works even if the length is different from the original as it only looks at time code to reconnect.

Ideally you need to have GlueTools and FCP Reconnect. And Pomfort Silverstack to do easy DPX to QT conversions where you can view DPX info easily, and even do colour space conversions.

I have all three, and can help if you need.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

Actually if the compressor+ cinema tools process works you can do both in a batch. Batch compress in compressor to handle the reverse telecine. Then batch conform the converted clips in Cinema Tools. CT does more than one movie in one pass.

I’ve yet to find time to do the test I’d done, on a long piece.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

You could even get a DisplayPort to HDMI converter.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

I created a NTSC ProRes movie 10 sec long. It has a colour bar, some moving coloured squares, a running NTSC TC burn-in, and white flashes accompanied with 1 frame beeps. And a music track as well.

I exported that into an NTSC ProRes movie. Ran it through Compressor with custom settings for the 23.98>25 speedup as well as the Reverse telecine and 720×486 > 720×576 blowup.

The resulting PAL movie is 9s 14fr long (expected) and the audio beeps are in sync with the flashes. A couple of beeps look like they are a fraction of a frame off (from the waveform) but that’s maybe because of the 29.97>23.98 pull down. But overall, video-audio sync is maintained.

I can upload or mail both movies to you to see,

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

Apple Color can convert QuickTime to DPX. As can Aja QT to DPX converter.
But Gluetools is a great tool to work from within FCP.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

There’s a section in the Compressor presets that does adjust speed while compressing.
So you can set up your first job to do the 29.97 > 23.976 reverse telecine and chain that to a 23.976 > 25 with 720×486 > 720×576 convert.

But 120 times? You need a preset that does both that you can apply to all. I could make one for you if you could mail me a small, even 2 sec ProRes NTSC 29.97 file.

My address is neilsadwelkar at me dot com.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

After step 2, where you have a 23.976 fps movie with sound that’s perfectly in sync, you need to place video and audio together in FCP and export as a QuickTime movie self-contained. There won’t be any loss if the seq settings are matched to the clip settings, ProRes in your case.

This 23.976 fps QuickTime with sound embedded can be opened in CinemaTools and conformed to 25 fps. The sound will be proportionally speeded up to 4.01% along with the picture so it will all be in sync.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India

[Neil Sadwelkar]

How do the FCP captured Quicktime files look when seen in Quicktime Player? If they are fine, then what’s looking blocky, the picture inside FCP? Check your Sequence quality settings in the RT popup.

Also, try capturing in FCP over Firewire and set your easy setup to DV-PAL or DV-NTSC as the case may be.

———————————–
Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India