[Phil Hawes]

Thank you, that answers my question.
So I will have no problems mixing 60i DF and 60i NDF in a 60i DF sequence.

Yes, it is quite possible that my render file problems were caused by something else. That problem was on another project.

[Phil Hawes]

I think I am not expressing myself clearly.

For any Final Cut Project I will modify a source clip if it does not match my sequence settings. So if my sequence is ProRes 60i and I have a 24p clip or a 50i clip, I will modify the clip to be 60i for the following reasons: I can avoid rendering on the sequence while editing and I can use conversion tools that are better than those inside Final Cut. That is my standard practice.

My question is simply: has anyone had problems mixing non-drop frame and drop frame clips on the same sequence? Normally I only work with drop frame media.

[Phil Hawes]

I have access to a Kona 3 so I’ll be capturing archival footage as Uncompressed, then converting that to ProRes.
I think I just answered my own question.
If I’m concerned about ALL THE FOOTAGE being drop frame I can simply use the “modify timecode” option in Final Cut.
I forgot about that menu option since I rarely deal with non-drop material.

[Phil Hawes]

Hi Gabriele,

Follow MacGregor’s advice if you have an edited sequence.It seems like he is on to something.
Reversing the pulldown on individual clips edited in a sequence is not recommended. The timecode will change your in and out points and you will have to redo the edit by eye: a thankless task.

In previous posts I was referring to 24p clips not advanced 24p.
Reversing the pulldown in Cinema Tools works well but you have find the A frame manually. The auto function does not work. This is time consuming. After Effects (I have CS4) can correctly auto detect the A frame and then you can batch render out in the codec of your choice. This is more efficient: just a few brainless mouse clicks per clip. Could it be scripted I wonder? However, both of these methods pertain to removing the pulldown BEFORE you edit in a 24p sequence, as it should be done.

Phil

[Phil Hawes]

Thanks Dave.

Yes I have AE CS4 on the same machine as FCP Studio 3.
I did a test and AE interprets the pulldown removal correctly for multiple clips. You just have to interpret each clip individually but at least you don’t have to find the A frame manually like in Cinema Tools.

File sizes for ProRes 422 are not too bad when it is SD.
I made an output in AE which was basically DV resolution with DV pixel aspect ratio but Pro Res 422 compression.

The editing will be in Final Cut and it accepts the footage no problem even if it does call it the phoney baloney 23.98 on the sequence settings.

Cheers,

Phil

[Phil Hawes]

Sorry to say that I did not figure out the problem.
I went around it and moved on. I finished the project at 29.97 fps and forgot about 24p. You problem is slightly different but it seems, like my problem, to originate in the pulldown removal from tape.
As Dave said earlier in this thread: the pulldown removal from tape does not always go smoothly.

As an aside though, I never use “export using quicktime conversion”. There are too many bugs in that method, sending to Compressor is much better. I had problems with aspect ratios being misinterpreted when I tried to use “quicktime conversion” so now I just avoid it. “Export quicktime movie” (using current settings) works fine, though.

The other issue I had recently with quicktime was that it shifts the gamma on certain codecs but not consistently. Some codecs have the gamma raised and others are lowered. That is another thread which, unfortunately, I don’t have time to start right now.

I have so many expectations for the next version of Final Cut that I can’t fail to be disappointed.

[Phil Hawes]

I’m not sure if I have to go that far.
On closer inspection I notice that the problem is the inverse of what I had previously thought.
The clip is correct after exporting but incorrect when it plays on the sequence. When playing the sequence I see something different than when I advance frame by frame.
Advancing frame by frame gives me the correct image, playback is incorrect. I know this by verifying the original media in Quicktime Player.
Just for fun, I exported an EDL from the problematic sequence and reimported it for reconnect media.
I got the same result.
However when I was exporting the EDL I had an error message saying that some of these clips are missing timecode. Could be a timecode problem with some of the clips when they were captured? I will try to see where the error occurs throughout the sequence and which clips are affected, then try to recapture them from the tape.
Honestly, if I did a reinstall everytime I had something going wrong with Final Cut I would spend my whole life reformatting and installing, but I appreciate you taking the problem seriously.

I have worked with 24pA media before without a problems.

Phil

[Phil Hawes]

I’ve had render file problems that were similar to this.
Once the effect is rendered you see a different in and out point.
For that issue I would export out the clip as a stand-alone Quicktime, reimport, replace and then render.
But I have never had a similar problem on export.
Sometimes I wonder if Quicktime would work better if the metadata was contained in a separate file.
I’m using Final Cut 7, Studio 3, by the way.

[Phil Hawes]

Yes, I’ve tried trashing the preferences.
Sometimes I wonder if Final Cut would work better if if did not use Quicktime or if Quicktime stored the metadata in a separate file from the video clip.

Phil

[Phil Hawes]

Yes, the pulldown was added when I printed to tape and I can’t remove it on recapture because it is not flagged. This is why this is not really a good solution for me: I end up with a 29.97 Quicktime and trying to remove this pulldown with Cinema tools is not a good solution either.

The real question is why ,on export, Quicktime is not properly referencing the Final Cut sequence? My exports do not match my sequence, the edits have changed.