Samuel Frazier
Forum Replies Created
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Unless otherwise stated by your film lab, video is transferred to dbeta at 29.97 and removing the pulldown in Cinema Tools will make it 23.98. You have to tell a lab you want it 24.0 rather than 23.98 and they’ll probably fight with you if you insist on 24.0 (and for good reason!). I just went to the lab the other day and was told a story of the one guy who insisted that his footage be 24.0 rather than 23.98 b/c that’s what his editor told him to ask for. A couple days later and the editor called wanting to know why his tape wasn’t working right.
Here’s a site that discusses syncing audio manually (i.e. not syncing it yourself):https://www.zerocut.com/tech/2_3_audio.html
I believe that it’s a nonissue unless you have a take longer than around 1 minute as any sync issues will not be noticeable until that time.
For my part, I thought the process from lab to 23.98p edit wasn’t too bad. I captured at 10 bit uncompressed from the digibeta tape onto a Lacie big disk extreme. I made sure I started the capture of each reel from the burn in and ended the capture on a ‘0’ or ‘5’ on the time code. Then all you have to do is use Cinema Tools to reverse the telecine from each reel and you have your 23.98p material.
The 10 bit material was too much for my Mini, so I used the Media Manager to made NTSC DV (DV25) copies of the reels. From the timeline, I found I could make each clip offline, then reconnect it to the 10 material and back again at will. No problems so far and have done the switch at least a couple dozen times.
When it came time to put the final product (a short film) back on a dbeta tape, I found my friend’s decklink card added the pulldown during preview. So, it went back to tape at 29.97 w/o any need for adding the pulldown in After Effects or using the Nattress Standards Conversion. I’ll probably end up buying Standards Converter at some point though as there’s a lot that plug in can do.
Anyway, I found this course to be very manageable. Also, it did not require the use of a dbeta deck for nearly as long as it would have taken had I done an offline capture and tried to batch capture once the edit was complete. Of course, I did not have any delusions about going back to film, so I learned little to nothing about flex files or anything to do with that sort of thing. But, if going back to film is not an issue, than I think this process to 23.98p is very doable and not nearly as scary as it sounds. -
It’s for things like this that I keep lobbying for track filters. It
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Sometimes when I run into weird audio issues I delete my render files. When I rerender the problems disappear. Just a thought.
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Very cool! Thank you for the help!
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Thanks for responding. Actually, I’m trying to use Boris as a stand alone generator. Boris transparencies work fine as a filter in FCP (even using the very same project that won’t be transparent when exported from the generator), and also seem to work when rendered on my PC and brought over to my Mac.
Any thoughts? -
Thanks for that. I didn’t know Red uses the render engine inside of the host app. I’m not sure what that means for workflows. I actually have not noticed any color shift using Red as a FCP filter. A friend did some work in Combustion ad gave it to me back at 23.98 Uncompressed 4:2:2. That file was significantly darker than the original, but I didn’t notice that kind of change when I used Combustion on another clip.
So, can any educate us a little bit about how Boris works in other aps? -
Matt,
Seriously, thank you for the response. I’m definitely out of my league here and any input is very helpful. I haven’t contacted Automatic Duck yet for two reasons: #1 Their site says they’re all at IBC, #2 I thought if there was a possibility of making a filter (now thinking of a script or XML) that FCP people would be the ones to talk to. The problem is I know absolutely nothing about how to write an XML or script, so I don’t know how complicated it would be or whom to approach.
I’d think such a script or XML would be a pretty popular item. If Automatic Duck programs something to get the 2 to talk, then there’s got to be a market. I’d definitely pay $100 or so for such a product.
So, I’ll contact Automatic Duck and see what they say. In the meantime, could you tell me if such a script or XML would constitute a significant amount of work, or if this would be pretty basic?
Thanks again! -
Sorry for the delay, but thank you for the response! That does sound promising. However, I’m a FCP newbie so I know nothing about scripts or XML. How hard would it be to make something like that and whom could I go to to do it?
I’d DEFINITELY like to run some tests on any script or XML if someone could make one. So any idea on where to go from here?
Thanks again! -
Sorry for the delay, but just wanted to say thanks for taking the time!
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Very cool! Words from the man himself! Okay, so I’ll definitely buy the Standards Converter. I was just a little confused from the front page of your site under the 2.5 update that said, “…G Add Pulldown and G Remove Pulldown for working with 3:2 pulldown.” But no matter, so long as it’s in the Standards Converter package.
I was still wondering about what would happen with the footage I have sped up. Will adding velosity remapping from FCP or Boris create any problems when using your Standards Converter to export a 29.97 version of my 23.98 project?
Thanks again for the help!