Nick Meyers
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Premiere Pro Coins
Forum Replies Created
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none at all, i’m afraid,
i’m from Sydney, Australia!nick
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converting while exporting gives probably the worst result.
FCP will do a very very simple change from 25 to 24 by just repeating one frame every second.
however, the timing would be the same.exporting at a different frame rate may also mess up sync, or other unpredictable effects.
you cant really use FCP to change the frame rate.
you have a few choices:
– Export as is.. open the file in CinemaTOols, and “conform” from 25 to 24fps
it wil play slower, and the audio will be pitched down.
you can get sound experts to fix that, or work on it yourself in Soundtrack Pro,
(or ignore it)– Export, and try to convert the frame rate in Compressor.
it’s a very hard thing to do well, and if done using the “Best” settings in the frame controls pane of the inspector,
will take a very long time, and may not look great anyway
do some tests on a small section before you proceed.– Look into how you film will be projected.
DCPs can now be made at 25fps, but not all projectors can play them.nick
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have a look in your Mac’s system prefs, look in universal access,
there may be a way of having the mouse click be constant,
im not sure if there is,
it could of course stuff you up in other ways!there’s other ways to move around the timeline, of course.
up and down arrows jump you to next edit.
if you select an edit on a particular track, up & down arrows jump you to next edit on that track only.Shift + Left or Right arrows jump you one second at a time.
i often just lean on that combo as a way of fast-forwardingControl F10, F11 & F12 are the upper end of fast forward-ing.
and good old JKL, of course.
nick
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you right (or control) click on the red sync warning on the clip itself,
then you are presented with a list of options.nick
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a couple of extra points:
with all those steps between your original neg and what you’ve been cutting with,
you really should make sure you have correct timecode that will trace back to your 24fps film.an HD telecine will probably be cheaper & more efficient than a scan.
plus it’ll pay to shop around.nick
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you;d be hard pressed to find people to “make a print” for you these days!
plus telecine from 16mm print would not look the best.most likely scenario would be to provide an EDL or XML to a post house experienced with film work,
they would SCAN the used sections from neg to a digital format, and do a conform.
then grade and finish it (add titles, do any vfx)nick
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yes, but this is from memory
first you create a subtitle in the style of your choice in the right sort of sequence in FCP.
you export an XML of that, and put in the “templates” location that TEP references.in TEP there’s a window where you set up the appropriate “input” format, and the appropriate “output” format.
and somewhere long the line you point TEP at the template you have created.
sorry i cant be more specific, it’s been awhile since i used it.nick
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Title Exchange Pro is an XML based app that can re-format FCP titles.
in demo mode you can process up to 50 titles at a time
nick
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so for the best advice you do need to talk to the sound person involved.
so in my experience they want the new OMF, new PIC guide, plus an EDL of the old edit, and an EDL of the new edit
so that implies that have some sort of way to conform, in which case you may or may not need notes,
but who knows if that’s the case or not? oh, they do,
so you do need to talk with them.so the conform DOES take time is is fairly boring (non-creative) work for them.
so if they totally object and cant do the work for the budget, you could re-jig the mix after the fact,
so you will definitely need to get the audio in STEMS, which is the separate elements of the mix: Dialogue Effects, Music, and separate VO if it is a documentary.most films benefit from being as lean as possible,
so good on you for following through on your instincts.nick
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Double check your sequence preset in AV settings,
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If its a different frame rate it can trow imported audio ou of sync.