[Nick Meyers]

if the audio is part of the exported file, then it will be sped up along with the picture.

there will be a corresponding rise in pitch,
which you can either live with, or try to correct.

FCP & Soundtrack Pro have pitch correction tools,
STP’s maybe better than FCP, i don’t know.
but i do know that neither of them are very good compared to what a true professional audio tool could do.

nick

[Nick Meyers]

not necessarily.
you’d have to ask them

it would be passing the problem onto them,
but then again, they might be the best person to deal with it.
their de-interlacing tools may be better than yours.

when i use MPEG Streamclip the two checked “intrerlace” options are Interlaced Scaling & Reinterlace Chroma

here’s what the manual says

Interlaced Scaling
If you are scaling an interlaced file to a different height, you can tell MPEG Streamclip to preserve interlacement and scale each video field separately by checking “Interlaced Scaling”. If you don’t, interlacement will be lost in the scaled movie, and, worse, you will get many visual artifacts. This setting is now enabled by default; remember to disable it with progressive files.
Interlacement requires a frame height of more than 288 pixels. If the frame height of the source file is up to 288, interlaced scaling will not be enabled. If the frame height you have chosen for the exported movie is up to 288 and you check “Interlaced Scaling”, MPEG Streamclip discards the lower field before scaling the picture (i.e. it performs a fast deinterlacing by dropping one field).

Reinterlace Chroma
If you are converting an interlaced MPEG-1/MPEG-2 file, you may wish to “reinterlace” chroma. By checking “Reinterlace Chroma” you can enable a special remapping of 4:2:0 chroma lines so they will be split correctly between the two video fields. This is a very advanced option: only professional users may see the difference in the output movie. This option is enabled by default; disable it when you are sure your file is not interlaced.
This option has no effect if the source stream is not an MPEG-1/MPEG-2 stream.

Deinterlace Video
If you have an interlaced file, you may also want to deinterlace it, usually to convert into a progressive format, get a “film” effect and have a better playback on the computer’s display. When you check the option “Deinterlace Video”, MPEG Streamclip enables a special motion-adaptive deinterlacer, and it deinterlaces the lower field in the parts that contain motion, and preserves video quality of all parts that do not contain motion; the upper field is left unchanged. This option slows down the conversion.
Please note that if you are changing the height of an interlaced stream (that is, you are telling MPEG Streamclip to perform vertical scaling) then you must enable either “Interlaced Scaling” or “Deinterlace Video” (at your own choice), otherwise you will see bad video artifacts in the converted movie.

nick

[Nick Meyers]

i would have edited in an HD timeline that matched the footage.

less rendering, faster exports, looks better, and is future-proof.

now you have reduced the frame size to NTSC standards, and are now blowing it up slightly to PAL standards.

so, Edit in the native format,
export,
convert to NTSC for NTSC markets
re-imort and apply Nattress for PAL markets

OR an alternative to Nattress

conform your 24fps export to 25fp in Cinema Tools, then export if to PAL.
your show would play a tiny bit faster. you WOULD be a minute shorter, but your WOULDN’T loose any frames.

this wont work for everyone.

working in Prores would be just as effective as uncompressed.

nick

[Nick Meyers]

what format (including frame rate) is your footage, and your sequence?

nick

[Nick Meyers]

oh, right,
i missed where the OP didn’t want to build the 16xSplit in FCP.
well, they’d all be about the same amount of work, i suspect.

another way might be to just monitor 9 angles at a time.
or two multiclips with 8 angles each.

nick

[Nick Meyers]

hi, VIc.

no idea, sorry.
i dont have experience with that camera

i’d sugest starting a new thread.

cheers,
nick

[Nick Meyers]

re: Conforming.
its definitely a case-by-case thing.
your underwater for instance looks good conformed.
other nature footage is probably fine too.
maybe other neutral establishing shots,
shots without humans,
some shots with humans.
you never now until you try

anything with sync dial, obviously no.

“But if I don’t convert the frame rate – and will have to convert the frame rate for the timeline for the finish isn’t that going to effect the cut because the duration of the clips will differ?”

no, as i say FCP, will adjust the clips. durations will be the same.

“Also, usually editors don’t want to have to deal with the poor playback of different frame rates, so that’s a factor.”

well, there is that.
but if the codec & frame size matches, the playback is really not that bad.
but i’ve only had to deal with a few clips like this.
a show with a lot might get tricky.

“My biggest concern is the source time code matching the BITC on the screeners for the EDL because the archive person needs to license the footage this way”

understand.
but there isn’t a way in FCP7 to have your TC jumping or repeating numbers to follow the BITC.
well, there is on one instance and that is if your source is 25fps an your edit is at 24fps,
FCP lets you set the TC rate to 24@25

but of course you’d be a lot more likely to conform (even sync dial) if the difference is only 1fps

might be out of options here!

nick

[Nick Meyers]

no need for motion, you can build the 16 track 4×4 grid in FCP, and export.

but no you cant export your multiclip view direct from FCP,
unless you use some sort of screen grab software

nick

[Nick Meyers]

there’s no control for that, so i’d say trash your preferences.

nick

[Nick Meyers]

i think there are two choices:

one is to do a decent frame rate conversion now and eye match later,
which is what you are doing
OR

leave the footage at it’s native frame rate when you convert to your edit codec.
FCP will do an “on the fly” frame convert which consists of either dropping or duplicating frames.

unless your footage is nice slow pans or tracking shots, most people wont notice.

this should allow for an easier replacement of the footage, and you’d be passing the problem of a decent frame-rate conversion on to the online.
you’d have to check with your online people about this.

oh, another factor is if your archive footage frame rates is close to yours.
for instance it’s 23.976 and you are 25.
in this case rather than trying to convert the frame rate you’d be better doing a “Conform” in Cinema Tools which simply makes the footage play at a different speed.
looks great.

you would do this to your footage AFTER you’ve converted to your edit codec,
new TC you give the clip will drift form the Burn In,
so when you come to replace it, it’s another eye match, but the code might be similar.

i wouldn’t entirely trust TCs on archival footage anyway, and you do have to eyeball everything that you put back in.

one gets pretty good at eye matching after a while!

as a further safety check when replacing something, i tend to layer the two up on the timeline,
(option shift drag the original up one track to make a dupe, then use replace edit to put the new material in place)

i then set the COMPOSITE MODE of the top layer to DIFFERENCE.
(assigne it, and NORMAL comp mode to shortcuts)

helps a lot.

cheers,
nick