[Pierre Jasmin]

I see, we might not be able to help too much thought as we don’t have plugins that run in SpeedEdit.

Pierre

[Pierre Jasmin]

I see, we might not be able to help too much thought as we don’t have plugins that run in SpeedEdit.

Pierre

[Pierre Jasmin]

Some of our clients do use that camera, but I forget the issues this second.

Questions/Notes would be:
1) Within what software?
2) If AE, the thread jan 6 – Tidier workflow might be helpful
3) There is two issues, the frame rate issue and if or not there needs to be resizing (SD NTSC and PAL is not the same image format)
4) If you ever plan to use fields, would advise also to get some test footage before buying, upload it and we can look at what it looks like after the image is loaded.

Pierre

[Pierre Jasmin]

Some of our clients do use that camera, but I forget the issues this second.

Questions/Notes would be:
1) Within what software?
2) If AE, the thread jan 6 – Tidier workflow might be helpful
3) There is two issues, the frame rate issue and if or not there needs to be resizing (SD NTSC and PAL is not the same image format)
4) If you ever plan to use fields, would advise also to get some test footage before buying, upload it and we can look at what it looks like after the image is loaded.

Pierre

[Pierre Jasmin]

I got your files
The issue I see is RE:Flex requires both inputs to be the same size, the main source following the transform and mask basically changes internally the size of the main input. However we are supposed to render a red frame then not a transparent one… (so not 100% sure it’s our bug yet)

What you need is to precomp the 3K in the 4K comps for each of them (2 branches) and work on a final comp where both have been preprocessed / transformed already so are the same size then.

I will send you a sample project and we can follow from there

Pierre

[Pierre Jasmin]

I got your files
The issue I see is RE:Flex requires both inputs to be the same size, the main source following the transform and mask basically changes internally the size of the main input. However we are supposed to render a red frame then not a transparent one… (so not 100% sure it’s our bug yet)

What you need is to precomp the 3K in the 4K comps for each of them (2 branches) and work on a final comp where both have been preprocessed / transformed already so are the same size then.

I will send you a sample project and we can follow from there

Pierre

[Pierre Jasmin]

You can only get MB like that from roto Masks motion (not from Alpha)

Try our product ReelSmart Motion Blur:
https://revisionfx.com/products/rsmb/

🙂

Pierre

[Pierre Jasmin]

You can use Twixtor to go from 24 to 25P if you want… but 24P or 25P to 30P or 60i :: That technique has a lot more value.

Short form: In Twixtor you set input FPS param and you set the output frame rate in the AE Comp Settings and you render.

This sort of process has some issues at cut points as the last frame of a shot is typically too completely different then the first frame of the next shot. We provide a way to mark that, but for long format “frame rate conversion” it helps a lot if the movie is already broken down in layers per shot as what happens if you import a project from Premiere or from another editing system via Automatic Duck…

there is some sample projects in the Help/Support section of Twixtor: https://www.revisionfx.com/products/twixtor/

see the jan 29 thread “Tidier workflow” below.

Pierre

[Pierre Jasmin]

You can use Twixtor to go from 24 to 25P if you want… but 24P or 25P to 30P or 60i :: That technique has a lot more value.

Short form: In Twixtor you set input FPS param and you set the output frame rate in the AE Comp Settings and you render.

This sort of process has some issues at cut points as the last frame of a shot is typically too completely different then the first frame of the next shot. We provide a way to mark that, but for long format “frame rate conversion” it helps a lot if the movie is already broken down in layers per shot as what happens if you import a project from Premiere or from another editing system via Automatic Duck…

there is some sample projects in the Help/Support section of Twixtor: https://www.revisionfx.com/products/twixtor/

see the jan 29 thread “Tidier workflow” below.

Pierre

[Pierre Jasmin]

23.976 is 24P and is correct: it’s 29.97002997…(30P) multiplied by 4/5
PA – Progressive Advance is a way to store 24P in a 60i camera.
Essentially it copies 2 fields twice on a frame with the assumption that whatever loads it later will strip that out.

For the aspect ratio: I am not sure why the PAR (pixel aspect ratio) is 1.5? I have seen HDV is like 1440 but never 1280…

Finally to go from 24 to 25P (PAL Progressive) people usually recommand to duplicate a frame every 24, it’s not like going from 24 to 30 or 30 to 24… Most film to PAL conversion just timestretch by 25/24 even if it makes the sound 4% different. Simply drop the footage in project bin, select it and Composition|Add to Render Queue and in Render Settings Use Frame Rate 25 instead of 24.

Pierre