[Rosie Walunas]

This is what it says about the red:
“red: The settings of the clip (e.g., pixel aspect ratio, frame rate, field settings) don’t match the settings for the sequence.
red: Any video effect or transition has been applied to the clip. (A video transition only causes a red bar over the duration of the transition.)
I hope that from this you will see that a yellow render bar doesn’t mean that something is wrong. It’s entirely normal for most modern codecs. And even a red render bar is to be expected with certain effects or when you are using media of various formats in a sequence. If you see a colored bar, don’t panic.”

But in this case could there be something wrong since the clips were just Imported? I’d check your clips in the Import frame and compare to your project and seq settings.

[Rosie Walunas]

I agree with keeping this project as is SD. I think when you do you export, you can do it as 640×360 and deinterlace. This will look better than than the 30i comp. or even 1280×720.

I’m curious to know, if anyone has any info, if this goes into another project at 1280x720p, if that footage could be interpreted as progressive in any way?

[Rosie Walunas]

I agree with keeping this project as is SD. I think when you do you export, you can do it as 640×360 and deinterlace. This will look better than than the 30i comp.

I’m curious to know

[Rosie Walunas]

I did try that and when it exported, that boom track 2 shifted the pitch as if it was playing it the wrong rate, which it was at that point.

[Rosie Walunas]

I always thought consensus was that Compressor couldn’t be used to properly convert 29.97 to 23.976, and Cinema Tools would have to be used to change the speed and a workaround done to preserve the audio. Can Compressor be used to properly convert clips at 1080p29.97 to 1080p23.76 and preserve the audio using this method that you outline? Why doesn’t this come up as a suggestion more?

“It is quite easy to “Reverse Telecine” a 29.97 clip with Compressor.

Just turn Frame Controls “On” and choose “Reverse Telecine” under the Deinterlace option. Make sure the “Set Duration to:” is 100%.

You’ll then have your film at 23.98 fps if it was telecined correctly.”

[Rosie Walunas]

Makes sense. Now I believe we are doing the online prep in 23.976, then converting via Teranex at post house for the online.

Another related problem I’m having is that a card of footage was accidentally shot at 1080p29.97. So it needs to be converted to 23.976, but then there is either the sync issue or an audio pitch issue. I have Premiere and After Effects from CS3 at my disposal, so I think I can import those clips into one of the apps and interpret footage to be 23.976. But then I still have to deal with the audio which I’m not to sure about. Trouble is that this will all have to be eye-matched and cut back in at 29.97, no? Any guidance or ideas would be helpful…

[Rosie Walunas]

So a clip could come in named 1111, it’s loaded as ProRes LT, then it could be renamed in FCP in the master clip as 1234 and at the Finder level as 1234, and if I did a batch capture, the media would reconnect to the camera raw and the clips could be uprezed to ProRes from ProRes LT? Without a hitch? Sounds too good to be true since the camera raw would still maintain the 1111 number. And there might be multile clips named 1111.

[Rosie Walunas]

Great thank you.

I’m concerned about the re-naming of the clips that the director wants – custom clip naming conventions like with the dates. I’m confused about how to do this to actually make sure the clips batch log and transfer from the camera raw media. It seems to make sense when you add the custom name in the Log and Transfer window, but they already loaded a bunch of clips that need a custom name, so I’m not sure how to go about this.

Exactly how should I go about renaming already loaded clips to insure they will reconnect to the camera raw clips on the field drives and batch log and transfer in for the upres?

[Rosie Walunas]

And if one were to not use Log and Transfer rename clips, and did so manually within the master clip in FCP and in the scratch disk, would that break the meta data for an upres via log and transfer?

[Rosie Walunas]

And if one were to not use Log and Transfer rename clips, and did so manually within the master clip and in the scratch disk, would that break the meta data for an upres via l