[Rosie Walunas]

Nick, thank yo so much for your thoughts.

I definitely don’t think I want to Conform the frame rate (at least for this project) because it seems most vendors send us 29.97 rather than 25, and if that footage gets Conformed to our current base it will play back on the slow side. (That’s actually what we’re doing with our underwater footage to smooth any abrupt shakes out. Looks good!)

I’m pretty good with eye-matching, and may or may not end up re-cutting in audio and clips before the online. My biggest concern is the source time code matching the BITC on the screeners for the EDL because the archive person needs to license the footage this way, and, like I said, it’s just so tedious to go into the timeline and type the BITC into a spreadsheet.

You write, “leave the footage at it’s native frame rate when you convert to your edit codec.
FCP will do an “on the fly” frame convert which consists of either dropping or duplicating frames.”

But if I don’t convert the frame rate – and will have to convert the frame rate for the timeline for the finish isn’t that going to effect the cut because the duration of the clips will differ? Also, usually editors don’t want to have to deal with the poor playback of different frame rates, so that’s a factor. And, the current edit team before I came on board this one project already converted the frame rate’s of most of the archive to 23.976.

Maybe it’s looking like for this project, noting the BITC by hand will have to be mandatory?

Any other thoughts?

Thanks! Really appreciate these options being noted.

[Rosie Walunas]

Okay, great. Thanks for the assurance.

Usually, on some projects, I’ve gotten 60p footage, which I transcoded in Compressor, then conformed in Cinema Tools. I will follow that same process.

That footage you share, John, looks great. Have an affection for travel videos.

Thanks!

[Rosie Walunas]

So what configurations need to be made in Compressor? Because normally, I just choose the video frame rate and change that when I’m making a regular conversion, but that doesn’t speed up or slow down the material – does it? For example, if something is at 25fps and then it needs to be in 30fps, I usually just change the frame rate to be 30fps – it is actually being sped up, or are frames just dropping? I was always under the impression that frames were dropping?

Thanks.

[Rosie Walunas]

Yes the idea is to have it ever so slightly more smooth. The film is supposed to be cinematic so anything will help.

Can you Conform the frame rate in Compressor? My understanding is that it has to be done in Cinema Tools to be done properly.

Thanks, everyone!

[Rosie Walunas]

Okay. Great. Thank you for this information. Still waiting to hear about how it was shot.

But, would it matter if it was transcoded to 422 or 422 HQ? We’re editing in 422. Nothing we’re editing at this point has 444 and I think the edit was planning on not editing 444 because it wasn’t actually making a difference in terms of really opening up the color space and the playback was direly slow.

Thanks!

[Rosie Walunas]

Well, I’m not exactly sure about the raw files but this details the camera:
https://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-pmwf3.shtml

So it looks like the footage could be coming in as 10-bit 444, and have to run through a LUT?

Why wouldn’t HQ make a difference?

Anyone have thoughts on how to handle this camera footage coming in?

Thanks.

[Rosie Walunas]

I think that’s the idea that the footage will appear slower or smoother because it’s underwater being shot cranked up.

The shots are coming from a 5D – so I guess it’s 29.97 but I thought that since it’s DSLR that’s progressive – no scan lines.

The idea is that we want it to look slower, so, should the 29.97 footage be Conformed in Cinema Tools to 23.976 (what we’re editing in), rather than simply running through Compressor or MPEG Streamclip so that frames are not lost?

The footage needs to be ProRes and obviously it’s coming as H.264. I know that H.264 can’t go straight through Cinema Tools so it should go through Compressor first, then through Cinema Tools to conform the frame rate?

Does that make sense?

Thanks.

[Rosie Walunas]

It worked! Thank you so much. And I can watch it back on a low playback setting compared to doing this in AE where I’d have to keep rendering.

Thanks for being specific!

[Rosie Walunas]

Hm. I can’t seem to do steps 4 and 5.

4. mark an in point
5. go forward 1 or 2 frames… mark an out point

After selecting all the clips in step 3, what should I do? Don’t the clips have to be loaded somewhere? While the clips are still in their bin, the In and Out keys don’t seem to do anything, and the arrow keys just make that Apple/Mac error sound.

Am i doing something wrong?

Thanks.

[Rosie Walunas]

I think I fixed it for the moment.

Changed the allocation of RAM for other apps to .25, saved the project, rebooted the system, did the Export with nothing but AE running, and that worked.

I wonder if all the system needed was a re-boot or if that much RAM was being used by Firefox that it disrupted my Export every time.

Yes, the 4GB of RAM that I have is not much, but it’s worked fine with AE for what I need to do the last few years. First time it’s been an issue.

Glad the issue’s solved for the moment.

Thanks!