[Sean Kapleton]

wow great reply shane than kyou for the info.

last questions – i just did a quick test with one of the shorter RED ProRes hq clips rendering in AE making it upper fields 29.97 and it looks great – will compressor have equal results? I was going to do a test in Compressor right now and I just want to make sure I select the correct format to begin with before doing all of the settings u suggested in your earlier response.

Since it is progressive 23.98 1080 footage what should i be checking in format conversions to start?

cheers
sean

[Sean Kapleton]

ok thats what I thought so but using cinema tools or AE is not going to get any better or faster looking results than Compressor?

Yes as I mentioned in my post I am outputing to HDCAMsr 1080i 29.97 and normally i would just do the conversion on the fly to the 23.98 footage if my sequence only consisted of that format..which is does not.

Because the edit is still being done I cannot give you a precise idea of what the ratio of 23.98 RED footage is to the 29.97 DVCPRO interview footage BUT once I do know what would you suggest for either results?

Is it ok for the editor to just cut as is and then when picture is locked I convert all the 23.98 footage to 29.97 in compressor, AE or Cinema tools and bring back in and replace those shots for the 29.97 layoff?

thank you for your help Shane its much appreciated.

sean

[Sean Kapleton]

thank you for the links shane i will read them now.

Also can you just clarify which footage you are advising me to perform this compressor procedure on 23.98>29.97 or the other way around?

thanks
sean

[Sean Kapleton]

Hey shane thanks for the fast response.

Any further clarification on the converting i.e. whether to change the 23.98 to 29.97 or vice versa and if so the best recommended practice (compressor, AE, cinema tools etc).

Also how the mixing of this footage could effect the HDCAM 1080i layoff if i dont convert everything to one format. Normally if the footage were all 23.98 I would have just done the conversion on the fly during layoff using my blackmagic card and setting the output in FCP to 23.976>59.94

In terms of the shooting of the footage – i just am on the post end of this project and had nothing to do with the production nor do I have any say on what clients come to me and how the shoot there footage.

thanks
sean

[Sean Kapleton]

I wanted to ask you exactly how this process works with the software – when i go to the site it looks like the video tutorials are showing you how to sync multiclips but i need to sync the .wav audio to picture.

thanks

sean

[Sean Kapleton]

Hey guys

thanks everyone for your help and responses i really appreciate it and of course no disrespect to the pioneers and trail blazers. I was just curious if there was some other type of workflow for the Canon 7D besides the linking in fcp route which i am aware of.

Hopefully no hard feelings and everyone have a great weekend!

best

sean

[Sean Kapleton]

ok thanks for the sarcasm guy.

I meant more like is there a way to link the two once you find that sync point in the time line as in like best practices for this procedure…would it kill you to just reply with something not negative, what has you SO jaded and bitter – maybe if it bothers you so much just dont reply to the post?!

Also I posted it into the basics forum but got no response and my original post only got one response from a gentleman trying to sell me software which is not really necessary at all in this case. I just wanted to try to get a better response after I had gotten further information from the sound guy – had i edited my original post or added on the added info would i really have gotten a response…probably not.

Regardless thank you to those who gave feedback that was positive and helpful and not condescending and to those who did I apologize if i wasted your interweb time with my question.

sean

[Sean Kapleton]

I know there are free ways to do this within FCP so if anyone else can advise me on best practices that would be great!

notes from the sound guy were as follows:

track audio recorded on a 702T HDD – transfered via data wrangler.
Track 1 = lav mic
Track 2 = boom mic

13 files in total – #13 is 1k reference tone.
No room tone as it was a recording studio so very quiet.
Audio was running majority of the shoot even if cameras were not.

sync via Digital slate with Time of Day T/C taken from master audio. Slate clap at beginning of take.
24Bits
48K
23.97ND
.WAV files

[Sean Kapleton]

Hey Bouke!

can u explain to me how I would remove just 3&4 and leave 1&2 intact using QT Pro?

thanks

s

[Sean Kapleton]

ok so rendering it out as ProRes HQ is the best i can do yah?!
thanks so much!