Olin Padilla
Forum Replies Created
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MPEG Streamclip probably won’t allow you to transcode without purchasing the MPEG-2 Playback Component. You can try exporting from VLC using the streaming/exporting wizard, although it’s kind of an annoying and limited process.
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I don’t have cs5 yet, so I don’t know if there is a direct way to do it,
but you can always use your roto-brushed layer as a track matte. -
Awesome work dude.
I’ve never heard of Generator before. Can you tell me where to find it?
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Sorry to say it, but those videos are not in an editing codec and need to be transcoded. Even if you found some magic way to import them as is, it will cause problems all through your workflow.
On top of that, if they really are 60p, then they need to be conformed.
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When you do your transcode, set it to 29.97 and progressive. Also, stick to Prores 422 (or Prores LT if you have FCP7).
Recording 60 frames per second requires a lot more in-camera resources and limits your exposure time. It usually ends up looking really “video-ish.” Unless there is a 24p setting, 30p is as good as you’re gonna get with that camera.
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1080i is actually an older format, so your projector probably can be set that way.
If you are using your projector as a second monitor, try switching the resolution to 1080 interlaced in the system prefs. If the 1080i option exists it will be there.
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So it’s playing 60fps in real time. That could be the problem, although it’s never been an issue for me. Then again, the whole point of shooting 60p is to slow it down, so I can’t say I’ve tried it much.
If you shot 60p for slow motion, then it needs to be interpreted (I use Cinema Tools). If it’s shot to play in real time, then you have twice as many frames as you need. This could potentially, overwhelm your system, and cause a glitched playback.
It sound like you are doing just about everything right, so that is where I would start.
You could also lower your RT settings to safe.
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There is a difference between cadence and pull down. The pull down (where you wrote 3:2) is the pattern that 4 progressive frames are split into 10 interlaced fields. The cadence refers to a reference point for the pull down to start.
Your footage was probably shot at 24p with a 2:3:3:2 pull down. It is obviously very easy to confuse with 3:2, and means that one in every five frames is a duplicate.
To restore your footage to the original 24p, you need to run some kind of reverse telecine (in this case you need to remove 1 out of every 5 frames). Bouke’s method would be awesome if your video was that simple, but realistically there will be a cadence break at every edit point.
Then again, Bouke’s method of exporting shot by shot at 24p, is a lot simpler then any way I know to do it, and will probably be much easier to re-sync on a new 24p time line.
Just beware that the math isn’t going to be perfect here. After converting and re-importing your clips, you will have to go though meticulously and check for sync issues or small gaps in your time line.
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Is the video playing back at 60p? Or have you interpreted the footage to 30p? (or 24, 25, etc.)
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I tried to re-create the effect, and it worked fine fore me. However, the offset was almost completely off screen, and I almost didn’t notice the liquify effect. That might be what is happening to you.