[Nina Baschi]

hey, phew, all that conforming stuff is confusing. I exported a 30 fps sequence in current settings, once with the original 25 clips and once with the interpreted-as-30 25 clips. can’t really see a difference. but since I’m planning to do the final export in 25 fps, I’m guessing I’ll just skip the interpreting-as-30 for my 25-material. so:

– editing 25, 30 and 50 fps material on a 30 fps timeline (in 720p)
– without interpreting / conforming
– exporting in 25 fps, 720p

…but does that mean everything will be slower on the final export, including the song I put over it? do I have to do that audiopitching thing you were talking about, even if the sound is not that of the clips? basically, if I convert the final export from NTSC (30) to PAL (25), will that slow down everything and will I notice the difference? and to avoid that, would it make sense to edit on a 25 fps timeline?

I guess it’s choice between dealing with more rendering during the editing (if i work on a 25 timeline) or ending up with a final export that is slower than the one on my timeline (30).

I know the lines mean rendering, but since I work on a laptop I wanna avoid this slowing down the process…

thanks again!

[Nina Baschi]

dear JP, thanks a lot for the answer!

you’re absolutely right we should have thought about the settings, I’m usually in post but I rarely shoot… will definately learn from my mistakes.:) so I created a 30p sequence in 1280×720, onto which I drop my 30fps-material and get a yellow line (don’t know why, maybe because there’s an alpha-channel). with any other clips I put on there (25, 50) I get a red line. I can play it but it slows everything down a lot. is there any way to avoid that?

and what do you mean by conform my 25 footage into 30, do you mean with the “interpret”-option? actually, the stuff shot in 30 fps is not the most important, we’ll try to keep it short and use more of the 25 / 50 stuff. so would it maybe be wiser to use a 25 timeline after all? does it make a difference if the 50-stuff has to be conformed anyway? since it’s for a videoclip we don’t need the sound…

thanks again!

[Nina Baschi]

hey Rafael, yes I have been doing many things wrong :/ it’s hard when you have to figure out everything yourself.. luckily there’s people like you out there to help!

I had a wrong understanding of the XDCAM Transfer Tool, I didn’t realize it’s plugin function. I was using it as independently from FCP to “convert” MP4s into .movs., which I would then import into FCP (over cmd+i) which is what caused the rendering problems (silly me). so now I go over Import…XDCAM and it works perfectly.

I got a little confused after watching the tutorial. I was convinced then that I needed to import using the Log and Transfer tool on FCP. Now there’s all these source formats and target formats to pick and I didn’t know which one applied in my case. (none of them seems to) but if I go over the XDCAM plugin I don’t have to worry about that, right?

you notice I’m a bit confused with formats.:) I understand now that editing native in this case is certainly the best way to start out… so, the one thing I´m not sure about is, what difference does it make – for the editing – when I change the sequence codec to prores?

does this codec not only apply once I do the final exports?

and: if we decided to edit in prores instead of native (for example because of mixed formats, or effects that would be “too heavy”), at what point and how would we convert to prores then? would we re-import everything over log and transfer tool as prores, or would be export the raw files over compressor… ?

have I said thank you so much yet?:)

[Nina Baschi]

hey rafael, thanks again and if you’re not tired of me yet, I have a few more questions…

I watched the tutorial and am much smarter now.:) in fact, having always worked with tapes I did not even know the import settings on the log and transfer fonction were so important.

now I tried re-importing material from the EX3 directly over the log&transfer tool, and it worked fine (FCP doesn’t need to render anymore, yay). what I don’t understand now:

– if FCP imports directly from the card and it works, what do I need the XDCAM transfer tool for? so far I’ve always used it to convert the MP4s into .movs – but then these QTs are the ones that need rendering on FCP! so is XDCAM just to view them outside of FCP..?

– and what if I don’t have the cards from the F3, only the copied folder structure on a hard disc, will FCP also recognize that directly and import w/o having to convert with XDCAM first?

– the other things where I would just like to have confirmation on, are the different pre-sets. for an easy setup (still considering I’ll also want to import DV material), would I use HDV? and for capture presets would I use HDV prores? …

– and for import settings within the log and transfer tool, would I use MPEG2SD with target format prores 422?

now feeling a little bad for having to ask you all these questions, maybe we could mention you in the movie’s credits 😉
thanks a milliion,
nina

[Nina Baschi]

thanks for the quick answer, rafael! what you’re saying implies that my rawfiles should be prores, which I figure they’re not coming directly from the camera…

so I’d have to convert them into prores HQ over compressor? the problem is, this camera (sony F3) is pretty new, I’ve onky worked with EX3 before and it never works directly on final cut. native editing wouldn’t really be possible if it needs rendering all the time.

and what do you mean when you say conforming/changing sequence codec, do you mean something more than changing sequence settings?

and for embedding DV you say it’s better to resize during import? that a good idea, I didn’t even know it could do that! we have a blackmagic card, but how will that work since I get my material on harddiscs?

sorry about all the questions, I’m a lost intern with lots of responsabilities 🙂
thanks again!

[Nina Baschi]

Another solution may be editing your NTSC stuff on a PAL sequence with the Nattress Standard Converion pluging.
Compressor has Presets for Standard Conversions. Use it always with the “Frame Control: ON”.
rafael

thanks for the quick response!

so do I get this right: I should edit my stuff as it is, in an NTSC project but on a sequence with PAL settings – once I’ve downloaded the Nattress Standart Conversion – and then export it with a Standart conversion (like DVD best quality), in which in just keep to frame fame control ON. correct?

so no extra conversion before or after the editing?

and won’t editing NTSC on a PAL sequence give me rendering problems?

gracias mucho, again.

[Nina Baschi]

Hello, I’m in the same situation (PAL to NTSC conversion for a DVD). Greame, could you give me the link to this pdf file explaining all the steps? I didn’t find it here.

Thanks a lort,
nina