[Ryan Holmes]

[Michael Bigda] ” they are saying we should use MPEG2 QT movie format on FCP. Is this going to cause issues with editing? For example long renders.”

First – who is the “they” in this sentence?

Second – FCP really doesn’t like MPEG2 format. ProRes is without a doubt the most FCP-friendly format. TO the best of my knowledge FCP won’t even ingest MPEG2 format. So you’ll have to convert it to something.

[Michael Bigda] “We could also switch to XD cam file format. Which would be better?”

XDCAM wrapped in a Quicktime would be galaxies better than trying to wrestle with MPEG2.

[Michael Bigda] “I know that we should be using prores but that is apparently out of the question.”

Why is it out of the question? Speed? Conversion time? Storage?

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

You may want to adjust your 24p footage then by running it through Compressor and making it true 23.976 footage. FCP can do mixed frame rate timelines, but it sometimes hiccups and causes headaches. Or if you plan on going out to other apps (Color, After Effects, Resolve, Smoke, etc.) they may not all be equally capable of handling a mixed frame rate timeline.

I’d take the hit now and adjust your 24p footage. Otherwise, it might come back to bite you in the end.

Just my $.02

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Use Automator to do this. Real fast and easy.

Create a new workflow. Then add these three commands in this order (use the search box in Automator to quickly find these commands):

(1) Ask for Finder Items (allows you to select your PDF file on your system)
(2) Render PDF Pages as Images (converts the PDF pages to the format/resolution of your choice)
(3) Move Finder Items (allows you to specify where you want to save the final output)

When you’re done using the workflow save it. I guarantee you it’ll come in handy again and again! 😀

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Best to ask this in the FCPX forums: https://forums.creativecow.net/fcpxtechnique

You’re gonna need a lot more than 4 points to pull that effect off! 😀 That forum may know of some plugins that give you more control to roto what you need. If ultimate control is needed something Mocha Pro is an excellent app for roto (and may have FCPX plugin by now as well).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

Do you need to match back to already shot film? Then 24p is your answer.

If you’re shooting this and expect to lay back to film then 24p is also problably your answer.

If you’re shooting and expect to make digital copies then I’d stay as far away from 24p as possible. 23.98 is what you need.

From Canon’s best practices PDF, page 7 ( https://www.learn.usa.canon.com/app/pdfs/white_papers/EOS_C300_Best_Practices_Canon_USA.pdf ):
EOS C300 cameras allow users to choose two frame rates that at first glance appear to be “24P”.
For conventional digital video recording at “24P”, users normally want to actually be shooting
at 23.976 fps. However, for video recording which must be precisely tied to existing 24.00 fps film footage, there’s a completely separate fps setting.
It cannot be over-emphasized — the 24.00P setting is NOT for general-purpose video
recording. DO NOT set 24.00P unless you deliberately intend to match video files with existing film footage which was shot at 24 fps in a film camera, or unless postproduction staff have specifically instructed camera operators to use this setting instead of 23.976P.

So unless you need true 24 for a specific reason I’d steer towards 23.98 as that is the standard.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

For FCPX questions best to use the FCPX forum: https://forums.creativecow.net/fcpxtechnique

This forum is for legacy FCP 1-7 questions.

For ripping DVD’s MPEG Stremclip is a trusted tool of many around here – https://www.squared5.com

Keep in mind if you’re ripping SD-DVD’s and then dropping them into a HD sequence you’re going to get a softening of the image. You can apply a sharpen filter to try to mitigate some of it, but there’s no way to take 720×480 to 1920×1080 and make it look as crisp and clean as natively shot 1920×1080.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

So you’re ripping a MPEG-2 (DVD) into MPEG-2 format to make a DVD? Am I missing something here?

If you want to edit the video in Premiere it’s best to rip it into some sort of intermediate codec (DNxHD, Cineform, DV NTSC, etc), then edit, then export to Encore via Media Encoder (I’m not a huge fan of the Dynamic Link aspect as it can be a bit flaky sometimes, which may be your problem).

You can try exporting your timeline out via Media Encoder as a MPEG-2 (use a preset) and import that standalone file into Encore.

In the future: MPEG Streamclip does the same thing as Tipard except it’s free (for Mac or Windows).

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Jason Jones] “If this IS characteristic of all 1D C bodies, I think it’s a deal-breaker in a camera suggested as a “Scarlet-killer”.”

I’m sure it depends on whom you talk to, but I don’t think most (any?) people would consider the 1D C to be a Scarlet-killer. I definitely wouldn’t say that. The only things similar about the 1D C to a Scarlet are it’s resolution and it’s price tag. Given that the 1D C is a 1D X with different firmware it’s hard to look past it’s DSLR backbone. And I think the problem you’re experiencing is typical of the DSLR-movie world. It is irritating, but having shot DSLR’s for close to 5 years now you just get used to it. You don’t see that on C100, C300, F3/F5, etc. for sure like you say.

[Jason Jones] ”
I’ve no experience with the BCC, but I’d be shocked if it displayed a 250ms delay in monitoring. How do you do critical follow-focus if what you’re seeing is late?”

I’m not sure how the BCC performs. If BM follows through on it’s July shipping for the BM 4K camera then hopefully I can fill ya in! Come on preorder!! 🙂 But you should still be able to pull focus if the action is only 6 frames behind what’s actually happening. If it was a full second behind, now that’s a deal-breaker. But I also haven’t seen the 1D C in use much so I’m not sure how much traction it’s gained in the market….so maybe it’s not a a problem because nobody is really using it? It seems like the C100/300/500 are getting most of the action, and it’s well deserved. Those cameras are pretty solid (but a little high on price I think)

I like the 4K nature of the 1D C, but for $12K I’d like to have:
(1) Better ergonomics
(2) Better audio control/connections
(3) HD-SDI out
(4) Better codec than 8-bit M-JPEG

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

This doesn’t seem like abnormal behavior. My 7D and 5D3 have long exhibited the same behavior. The camera is internally on the fly converting those frames from the sensor into something that can be displayed on the LCD. A quarter second delay doesn’t seem unreasonable (at least to me). The audio and video are in sync as far as your recording is concerned (to card or external device). They are just being displayed on your LCD with a slight delay compared to the action in front of you.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Ryan Holmes]

[Zara Mann] “I think I has assumed that 720 was more appropriate for web. No other reason.”

1080 is fine for web delivery on Vimeo, YouTube, etc. Just make sure the footage is progressive (de-interlace if necessary). Only time I would vote for 720p is over 1080i (i being interlaced footage), but if you shot 1080p then by all means use 1080p! Upload the best you can!

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost