[Rafael Amador]

That is call “Added pull-down”, and there are ways to remove it automatically.
You have to do what is “Remove pull-down” or “Reverse Telecine” to get rid of the repeated fields.

I have no much experience on this because I’m in PAL-Land, but I know that there are different kind of pull-down and depending of the kind you are working with you will need to use ne application or another.
In this page, Apple explain about how to deal with certain kinds of PD in FC and CinemaTools:
https://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=13%26section=3%26tasks=true
Compressor can as well do “Reverse Telecine”:
https://forums.creativecow.net/readpost/8/1080600

AE can also (I’ve tried) remove easily some PD patterns.
There is a lot of info in this forum (SEARCH: pull down removal) and in Google.
rafael

[Rafael Amador]

Multipass allows a more efficient managing of the data rate available and better distribution of Key Frames.
rafael

[Rafael Amador]

With a proper IO card, no problem.
The card will do the downscaling and change the color specs from Rec-709 (HD) to Rec-601 (SD).
The colors will be as accurate as the IO card.

With the T-Tap no idea. I guess the signal will be OK, but, who will take care of the HD to SD downscaling?
rafael

[Rafael Amador]

Have a look to this;
https://library.creativecow.net/lyon_matt/fixing-fcp-assets/1
rafael

[Rafael Amador]

Is the old story, Sascha.
With a Dell you will go better than with a crappiest monitor, but you will never be able to adjust it properly even with an Spyder. Beside not matching the specs of a broadcast monitor, they have no the controls for fine tuning.
But again, will be helpful. My first “external monitor” was a SONY TV set.
You will have to learn the flaws of the monitor.

[Sascha Engel] “So, you are saying, that I should go for the cheaper solution, since the extra dollars spent won’t be visible?”
I don’t think Shane meant that.
There are tons of differences between both monitors.
In fact I think the only thing they have in common is the brand and size.
Beside, I guess, the quality of the components, they differ in color gamut, contrast ration, backlights, connexions..
There are lots of stuff on Googles comparing both devices:
https://www.overclock.net/t/1194180/dell-u2410-vs-dell-u2412m
rafael

[Rafael Amador]

When you conform (CinemaTools) p50 to p25, the picture will play at 50% speed.
If you slow it down in FC to a 50%, will play at 25% of the speed.
If this is not like that, make sure that the Prores files have been properly conformed.
Open the QT Info window, and make sure that they show 25fps.
rafael

[Rafael Amador]

That’s correct.
In Adobe Media Encoder (format), apply the H264-Blu Ray.
On the Export window you can tweak the specs.
Check;
– Render at maximun depth
– Render at maximun quality
– VBR Two Pass
rafael

[Rafael Amador]

[Anton Fischer] “Any ideas on what Codec to use now? All my footage is shot in 1080p.
“
1920x1080i60.
Interlaced footage needs to be de-interlaced to be edited as Progressive,
but Progressive footage can be managed as interlaced without problems.

[Anton Fischer] “I did however deselect the interlaced scaling option when i converted it, not sure what that makes the clips now.”
OK,
You are not scaling anyway.
rafael

[Rafael Amador]

Convert your H264 clips to Prores, then conform the clips to p25 with CinemaTools.
Edit on a prores PAL sequence. Select in the Sequence Presets.
rafael

[Rafael Amador]

In QT you have an “Export Still Sequence” option.
rafael