Russell Lasson
Forum Replies Created
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That’s been my experience. You’ll still need to render.
-Russ
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So a DVD player would just treat 30P like 60i right? No need to use the progressive switch. That switch is just for 24P, right?
-Russ
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With Compressor 3 in FCS2 you can select to add a timecode window.
In FCP5, I apply a title over the entire show (delete the text of the title) and then apply a time code filter to the title. You’ll need to manually change the duration of the title in the viewer window to make it long enough.
From my experience, this takes less time to render than if you nest the sequence and apply the filter to it.
Or you can make a master tape and then digitize it back in from the deck with the timecode burned in. (or just give the tape to the sound guy if he’ll accept it.)
-Russ
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Really? Wouldn’t it just show field one of the frame and then field two instead of using a field from a different frame?
(I’m not a 30P expert. I like 24P.)
-Russ
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If you shoot at 30P then you have one complete frame every 1/30th of a second.
If you shoot at 60i then you have one field every 1/60th of a second. At the next 1/60th of a second, the motion changes. So if you combine those two fields, you get one frame with two different fields.
He’s still suggesting that you shoot at 30P and not 60i.
-Russ
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[Shane Ross] “This is not uncommon at all.”
Cool. I’ll have to play with 30P a little more. I’ve only tried testing it in comparison to 24P. I’ll take another look at it as it might be a good fit on a future project.
[Shane Ross] “If we shot 23.98, then we’d have a whole lot of conversions to worry about, and we aren’t about to make our lives MORE complicated.”
I’m not sure I would say adding a 2:3 pulldown via a capture card when making a tape master is all that complicated. But I can see where you’re coming from as far as trying to simplify the workflow.
-Russ
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[Dave LaRonde] “Now, unless you’re one of those people who think that 24p is soooo cool and soooo superior a frame rate that you just can’t live without using it, I’d use 30p.”
That’s me:)
I wouldn’t say it is superior, but I do like it more.
-Russ
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30P isn’t very common. If you were going to shoot progressive, I’d shoot 24P (23.98). It gives the show a more cinematic/narrative feel.
From there, edit at 23.98 (shoot at 24PA and remove the pulldown over firewire when you digitize the footage). Then make your final DVD at 23.98. If it’s playing on a progressive DVD player it will output the 23.98 file. If not, the DVD players will convert it to 29.97 by adding a 2:3 pulldown.
-Russ
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In the channels folder, use the channel blur.
-Russ
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Also if you want to get really tricky, you might try to blur the blue channel a little as noise is often strongest in the blue channel.
-Russ