[Russell Lasson]

I completely agree with Walter.

One thing you might try to minimize the damage is using FCP’s Color Smoothing 4:1:1 filter. It might help the video scale better.

Also, changing the codec of the timeline to a codec with a 4:2:2 color space (like DVCPRO50) might help your effects and titles. If you go this route, check out Natress’ Standards Converter. It has a DV 4:1:1 to 4:2:2 converter that you can use on your footage instead of FCP’s color smoothing filter.

-Russ

[Russell Lasson]

So my question is how will the AJA IO HD work with the timecode input? Will it be any better?

-Russ

[Russell Lasson]

It will use whatever dissolve is set at your default. To change it, open the effects window and drag the transition that you want to use to the favorites folder. Then change the duration of the dissolve (or any other settings if it is a different transition) of the transition in the favorites folder.

Now that you have the dissolve that you want to use, right click and select SET DEFAULT TRANSITION. Now it will use that transition.

If you’re dealing with audio transitions too, you’ll want to change the default audio transition as well.

-Russ

[Russell Lasson]

Shane,

I can’t figure out your instructions. When I follow then it says, “Sequences may not be added to sequences recursively.” I’m probably misinterpreting something.

I just select all of the photos that I want in the browser and drag them to the Canvas and select either insert or overwrite with transition.

OH… Just figured out what you were discribing. When you said drag your sequence, you mean the clips in your sequence, not the actual sequence in the browser. Got it. That’s a cool trick.

-Russ

[Russell Lasson]

Here is my take on a nice AVCHD workflow:

Digitize over HDMI or Component using a Decklink or AJA card to DVCPROHD.

Done.

What I’d like to see if FCP using Log and Transfer to mount a AVCHD HDD camera and transfer it to a different codec. That would probably be the best interface.

-Russ

[Russell Lasson]

JUST FYI,

Either the Frame Rate Converter or Cinema Tools will give you a better slow motion result than just changing the speed controls in FCP, especially if you are finishing to SD 29.97. Depending on what other footage you’re using will determine the best workflow.

I will say that even though the results aren’t as good, just changing the speed controls of the clip is probably the easiest way to do it.

-Russ

[Russell Lasson]

I still prefer to use Cinema Tools. Never been a big fan of the FCP frame rate converter, but it can work as well.

-Russ

[Russell Lasson]

Open the application. Select cancel when it asks you to open an database. Select File-Open Clip. Select the Conform button on the right. Select it using the left mouse click button (just teasing).

Be sure to duplicated your clip before you do it. Some times Cinema Tools is destructive when it deals with clips.

-Russ

[Russell Lasson]

Open up the clip in Cinema Tools and select Conform – 29.97. Then you’ll need to down convert it to SD in Compressor or on your timeline.

-Russ

[Russell Lasson]

For offline editing, this is going to be a lifesaver.

For finishing though, I’m really intersted to know how it changes the frame rate. If I have a 29.97 clip with a 2:3 pulldown in it and I drop it on a 24P timeline, will it detect the 2:3 pulldown or just remove 6 frames a second? Will it add a deinterlace filter?

I’m really of the opinion that it is really going to mess some people up when they start laying off masters? I can here it now, “I can’t figure out why the clip looks jumpy? Help me Creative Cow?” Discussions on 2:3 pulldown and other frame rate issues, while already quite popular topics, will become the most popular thread topics.

I’m not trying to be mean, but it will promote lazy and/or clueless editors to get into more trouble when they’re trying to deliver and their clients say, “Why doesn’t that clip look right?” Those editors won’t have a clue and they we get more “URGENT” posts on the cow.

There are plenty of editors that think they know enough to get the job done, but in reality, they know just enough to get into trouble.

I’m already starting to prepare a podcast on understanding frame rates and pulldowns as a preventitive measure.

-Russ