[Scott Allen]

Thanks, I appreciate the info.

I was aware of the meaning of DPI, but not so much how to translate into the realm of video/film scans. People will sometimes ask for stills to use in books and they typically ask for 300 dpi, but this is the first time anyone’s asked for 1200 dpi. And I don’t actually think this person wants it for a book.

These numbers help. Thanks again.

[Scott Allen]

Thanks. You’ve offered valuable clues. Every bit helps. 8^)

With the ScanStation, I know that we can output as TIFF (and even DPX), but it’s not clear yet about setting the dpi, or how to translate to dpi. Our ScanStation (and Photoshop) expert just left for his own career as a pro photographer. I’m scrambling to figure things out now, lol.

Thanks for your help.

[Scott Allen]

Great thanks to you both. I didn’t know how to “detach” at first, but once I tried “open clip in browser”, I was able to grab the sound and move it independently of the video. However, I could only move the audio forward – not move the video forward. So, I inserted a gap clip at the head, shortened it to the eleven seconds that I needed, and was then able to pull the audio back to the right spot.

It works now, though I wish there were a slightly easier way – but this isn’t hard. Thank you both very much!

Scott Allen
Moving Image Research Collections
Univerity of South Carolina

[Scott Allen]

So, it sounds like if I’m more concerned about sharpness of the frames, I go with the default frame-duplicating (in this case) – but if I’m more concerned about the “flow” of motion, I go with the frame-blending.

[Walter Soyka] “You can get a little fancier with 1080i60 output and custom pulldowns via a free tool called Avisynth. 18p to 60i is a 4:3:3 pulldown. 16p to 60i is usually reconformed down to 15p and then simply frame-doubled.”

How does that tend to affect the look of it as opposed to the less-fancy ways?

Thanks for the quick response,
Scott Allen
sallen@mailbox.sc.edu
University of South Carolina
Moving Image Research Collections

[Scott Allen]

Thanks so much for your help, Alex, sorry I haven’t said so, sooner!

Originally, I was confused by a workflow that seemed to be working for a colleague in Final Cut. Following your advice, though, I think I’ve got it. I nested the 2K sequence, placed it into the 1080 timeline, then resized / reframed the material on the original nested sequence, which updated itself on the 1080 timeline.

Thanks again. (Now, back to Mocha in AE to stabilize other pieces…argh.)

Scott Allen
sallen@mailbox.sc.edu

[Scott Allen]

Unfortunately, i have little control over the scanning process. Either the original choice of machinery or the method. The scanner has no teeth, and only maintains framing based on a not-totally-reliable perf-recognition laser. I will ask if they could do it one frame at a time, though the scan time would obviously skyrocket.

It doesn’t actually cut off the top and bottom, since they have pulled the camera back far enough to get an edge-to-edge scan — perfs and all are visible, including parts of the frames above and below (don’t ask). Which may be another reason it’s hard to stabilize, because of the added noise.

After several years of this, the powers-that-be have finally agreed to let us look at a used Spirit, or maybe a NOVA Data Scanner. From their lips to God’s ears 8^).

Thanks for the advice. I’ll see what I can do. I’ll probably start with cutting the file down into more manageable chunks.

Scott Allen
sallen@mailbox.sc.edu

[Scott Allen]

[Shane Ross] “Trash FCP preferences. Uninstall and reinstall Matrox drivers…get the latest ones”

Thanks. The FCP prefs have been trashed (many times), but we haven’t tried uninstalling/reinstalling the Matrox drivers. We have the latest ones.

If that doesn’t work, I’m thinking about re-installing Final Cut, or even the Mac OS itself.

Scott

[Scott Allen]

[David Roth Weiss] “Time to start using ProRes my friend. 8-bit uncompressed is 20th century technology…”

Well, while I’m all for using this century’s technology (8^), we’re pretty concerned about using either uncompressed, or losslessly compressed codecs. I read conflicting things about ProRes and compression. “Visually lossless” is great for display, distribution, etc, but for archiving, that doesn’t promote total confidence.

Are any of the high-end ProRes codecs truly lossless? Also, what about either jpeg 2000 or photo-jpeg? My current boss seems pretty high on these, but each seem to have their own issues, either with compression or functionality within Final Cut.

Thanks,
Scott

[Scott Allen]

I’m sorry, I’m new here (how many times has THAT been said before) — but it’s still not clear to me what’s wrong with leaving AutoSave on? What’s gained by turning it off?

Thanks,
Scott