[Russell Lasson]

Try using the Easy Setup. Set it to DV/DVCPRO and then create a new sequence. Put your AVI files in the timeline and export them out. Then bring them back in to start editing.

-Russ

[Russell Lasson]

So they have uncompressed files and you want them in ProRes?

Just convert them using FCP or Compressor. Not many G5 systems have been able to digitize in ProRes without dropping frames.

-Russ

[Russell Lasson]

Nope. That’s why the IO HD is so cool!

-Russ

[Russell Lasson]

[Script-to-film] “All that being said, which of the workflows would you recommend if I wanted to output a 24P DVD for festival review. You honestly think I should forget 24p for now and just submit when I’m done and see what happens later? If that’s the case, should I still color correct in Color or Shake or just use the 8-bit FCP 3way? Thanks.”

In all honesty, I should have asked what type of film it is. Narrative, documentary, extreme sports show, etc. You might be fine with the 60i look depending on the artistry of the film.

If you like the 60i look, then there’s no problem.

If you like the 23.98 look, I’d edit at 60i, then convert it to 24P. I’d take it into Color to fix some scene that need it or to give the show a look, but don’t spend too much time on it because it will mostly likely need to be re-colored once it gets picked up.

-Russ

[Russell Lasson]

[rogerdat] “or… Is there a better way?”

Yes, a Kona 3 card will convert it to 1080i on output.

Other wise I would edit at 24P and then upconvert it to 1080/24P. Then use Nattress Standards Converter to add a 2:3 pulldown to get to 29.97.

-Russ

[Russell Lasson]

I think that the pulldown menu is based on the other clips in the project, not cache.

Here’s how you can tell:

Close your project, create a new one and import one clip. Now right clip on the field that you’re trying to modify and see what shows up.

-Russ

[Russell Lasson]

[David Roth Weiss] “I assure you, millions of dollars could be saved and thousands of careers advanced if just half as much time in this world were spent on visionary thinking, conceptualization and great writing as on giving video the “filmlook.” Unless one aspires to make shows like HDNet’s Bikini Destinations, its not just about pretty pictures..”

I completely agree with you. Story, style, design, great actors are all more important than having a 24P look.

So Script-to-film Person who started this post, spend your time making a really, really great movie, then convert it to 24P 🙂

-Russ

[Russell Lasson]

[TJ Shank] “it is different – but having spent a little time in a CC suite I don’t find it badly designed at all. “

I was in a DaVinci 2K plus suite for a couple of days last week and had a chance to compare the UI to Color. DaVinci drove me crazy. The timeline even rolls backwards! It’s a proprietary system that protects colorist because they’re the only people who have figured out how to run the dang thing.

-Russ

[Russell Lasson]

[David Roth Weiss] “Real buyers will not be wowed by 24p,”

I don’t know. There is a big difference between 60i and 23.98. 60i feels like tv and news. 23.98 feels more cinematic. If you have the time and the budget, I’d convert it to 24P. (Acutally I’d shoot on a camera that can do true 23.98)

You really need to do a couple of test and convert them to 23.98. I suggest you try one test at true 60i in camera and another with the camera’s cinema like mode.

For converting, you should also look at Nattress Standards Converter. It might do what you want just as well as any of the other options (maybe better.) What do you think Graeme?

But David does have a point about trying not to do too much work for nothing. If you don’t know what you’re doing with Color, it will probably need to be re-color corrected before a film out or digital cinema out. Plus you’d probably need to deliver a DPX sequence for either process and that will depend on who’s distributing it. It can get pretty hairy.

-Russ

[Russell Lasson]

I’m guessing you’re editing the Reel information?

If so, that information is based on the clips you have in the browser, not a cache. So if you right click, it will show you all of the options for all of the clips in your project.

If you start to group clips that you want to have the same name, then you can select all of the clips at once, right click and change all of the fields of the selected clips to go to whatever you select.

-Russ