Pat Smith
Forum Replies Created
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I think I downloaded it less than 4 weeks ago. How do I find the version number? It’s a great application (I donated within minutes of using it). I had no problems with 30p footage at all. After I checked the 23.98(FCP) setting in the drop down menu yesterday, I had no problems with test 24p footage. Any idea how to strip the TC off of my video and start over?
Thanks,
Pat -
Bouke’s post got me to thinking about my setup. I forgot to mention that I used qtChange to add time of day timecode to my original h.264 files before I ran them through compressor. It turns out that I didn’t use qtChange’s simple set up menu that sets default frame rate. It’s a drop down menu that isn’t on the main interface. It was set to a pal default. I tested new footage with the frame rate properly set and everything syncs up. I guess the footage worked in QT player since it doesn’t clock to timecode. I don’t know why the XDcam HD codec worked, but at least I know how to deal with my footage in the future.. Thanks for all the thoughts and advice.
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Tried the AV settings and threw away my prefs. Still no good. Since I’m not logging and capturing or logging and transferring, none of those settings work.
I did read about sync issues and workflow solutions. I do use use double system sound with a zoom h4n. I ordered it the same time I got the camera. I need the scratch track to use Plural eyes to sync up. I shot a project that is interview heavy. I’m off by 5%, not just a frame or two. Over a 3;40;00 interview, the audio finishes 9 seconds before the video does.
This only happens with 24p footage shot with my camera and transcoded into the formats I mentioned earlier. It doesn’t happen with my 7d footage shot at 30p or 60p. It doesn’t happen in FCP with the native h.264 footage or footage transcoded into XDcam HD. It doesn’t happen when and of the other 24p codecs are opened in the QT player. All the different codecs sync up perfectly in my friend’s Adobe Premiere. I either have a funky camera or I’m seriously messing up my FCP sequences. I’ve been editing on Avids since the early 90’s and on FCP since 2000 so I’m used to being able to figure this stuff out.
I was hoping that the specific problem would ring a bell with someone out there. I can lay my tracks down, lay the audio back in using fit to fill and sync them that way. But to smoothly edit the way I’m accustomed, I would have to render the raw interviews as new clips and bring them back in. It makes me want to avoid 24p on this camera for future projects.
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Avoiding flicker is a pretty big deal. If you are going to be around ambient light in the US use a fraction of 120 (60, 30) and you will side step the issue. I just screwed up some footage that had low ambient light in the background.
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I have a set of old Nikkor Primes that look and work beautifully. they all have the same saturation, contrast and color characteristics. They do focus backwards from canon and everybody else. They have aperture rings you can grab hold of and silky smooth focusing.
I’m using $20.00 fotodiox adapters with no issues. I did use blue loctite to snug the adapters to the lenses because there was play between the two. There is no play between the camera and the mounts. I heard that the newer wide angles had critical focus issues up close but I’m using a 28mm f2.8 ais nikkor (newest made) wide open with no issues.
In addition to the 28, I also have a 50 1.8 ais nikkor, an older 55 micro- non ais (last version) nikkor, and a 100 2.8 nikon series E. I think I have less than $500.00 in the set and the 28 and the 50 are considered two of Nikons sharpest lenses. Even the 28 at 2.8 makes a nice soft background when used for chest up head shots.
For the jib and big wides I have a sharp Tokina 12-24 f4 that is heavily built with a neat clutch on the focusing ring to switch from manual to auto. It focuses backwards from the nikkors and doesn’t have an aperture ring. I also have some left over canon lenses including 3 primes, but I use the Nikons for video.
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I found Cineform and downloaded the test version. It had a setting to limit Canon 5D yuv color space. Checking it got rid of the red pulsing. Thanks for that. But now I have another concern. Cineform shows my 24p footage as having a frame rate of 22.99p NOT 23.98p. The 30p and 60p footage show the proper frame rate in Cineform. My 24p ProRes audio is isn’t in sync in FCP but it is in QT player. Am I missing something? I have used FCP since version 1.25, but this is kicking my butt. I’m wondering if I got a faulty camera, but my 30p and 60p footage is fine.
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No, I am using the 7D for a free doc. I have my pay work I do with other cameras I’m more familiar with, so I am just trying to clean up the 4 days of shooting with my 7D. I should have tested before I shot, but I didn’t. I’m not familiar with cineform. I’ll look it up.
Thanks,
Pat -
HQ, LT, and standard all pulse. I thought it may be the camera color set to high sat, but that wasn’t the case. It wasn’t WB. I usually manually set kelvin. It’s weird. I doesn’t happen in DVCproHD or XDcam HD.
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If you shoot 24p with your 7D you are going to lose your audio sync if you transcode to DVCproHD 72024p in compressor. The DVCpro HD codec uses a 23.97 frame rate, but ir is based on a 60 fps clock. I don’t understand why. I just tried this and my 7D footage lost audio sync. To resync it I had to lay the audio back in at around 95% speed. The only codecs available in compressor that don’t lose audio sync when running the 7D’s 24p through compressor are XDcam HD 24p and the various ProRes codecs.