Sean Oneil
Forum Replies Created
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Adam,
I just though of something that might help you. I don’t remember if this works or not so just try it out.
Open up your sequence, Select All, Copy. Then change your Easy Setup to DVCProHD 720p 23.98 Varicam, and create a new sequence with those settings (check the sequence settings and make sure editing timebase is 23.98). Now paste your footage in that timeline.
Because of the Varicam features built into FCP, Final Cut may be able to recognize the duplicate frames and remove them appropriately. Render a few seconds of it and jog through. If the motion looks find and there are no duplicate frames, then you’re good. Just export using Compressor to a 23.98 MPEG.
Sean
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[editor mayhem] ”
I’m wondering if anyone has had any luck with being able to combine DVCPro-HD 720p 30 footage with HDV 1080i footage in a single timeline in FCP6. I’m hoping this might work, as it would make my life much easier.”Its supposed to work. That’s one of the touted features. If I wasn’t still waiting for my upgrade to arrive I could tell you more. Lots of discussion already on it though.
[editor mayhem] “I was thinking that one potential solution might be to upres the HDV footage to DVPro-HD using a Kona card,”
1080i -> 720p is actually downrezing.
What are you mastering to for delivery? That is the format you should capture everything at. If you don’t know yet, I would actually capture everything at 1080i (DVCProHD or P-JPEG) since you won’t lose any resolution and the quality is probably good enough for online..
The good news for you is that both formats have the same framerate. So no matter what you do, you shouldn’t have any problems doing a batch recapture (Uncompressed for example) for when you online it.
Sean
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[Todd Beabout] “I’ve run into this same problem (even with SD footage) on FCP 5.1.x when my process involves first exporting the native QuickTime, then importing that into Compressor. I can offer no reason as to why, but I can take the same sequence and export through FCP “using Compressor” and while it ties up Final Cut, the end result looks right.”
This is a different issue. I’ll try to explain what’s going on with that….
When you export to Compressor from within FCP, Final Cut tells Compressor extra information about the video. Particularly it tells it what the field dominance is supposed to be.
But, if you export a QT file and then import it into Compressor, Compressor just guesses what the field dominance is based on what the default is for that particular codec. For example, it will think PhotoJPEG is upper field first – even though in Final Cut it should be lower-field first. For whatever reason, PhotoJPEG was orginally designed to be upper-field first, yet Final Cut captures and edits PJPEG as lower field first.
So the end result is that you get horrible field flickering after compressing an MPEG for DVD.
That is most likely why you have that problem. Different problem that what Adam had.
Sean
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Quicktime Pro will do this for you. Just open it up and export it to whatever you want.
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[audioeditor] “So you’re saying to send my DVI card outputs from the Mac to the DVI monitor inputs iin the suite, I should convert it to HDMI send over an 80 ft HDMI cable and then convert it back to DVI at the monitor end?
“Each cable should be 50ft or less. So get a 50ft. cable from the Mac to the repeater. Then use a 30ft. cable from the repeater to the monitor.
You can also get cables that have DVI on one end and HDMI on the other, rather than use adapters.
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Do some Googling and read up on 3:2 pulldown.
This is a very complicated issue. I can’t see your MPEG footage, and I don’t know what you are using to monitor it. What I can say is that any footage containing 3:2 pulldown will show “scan lines” when played back a certain way. This is normal to a degree. But there is a continuous field pattern, called 3:2 cadence, that needs to remain intact in order for basic software like Compressor to properly deinterlace it.
I’m gonna guess that your HVX200 was set to record 23.98 frames per second – but you captured and edited at 59.94. This means that you have duplicate frames in your footage, so when you edit this footage the 3:2 cadence is destroyed. This is not good and it will cause the exact problem you described. Programs like Compressor are not capable of fixing it. You need a Teranex or something similar to do that.
The only good news is that when played back on a DVD player, the problem will not be visible on a regular Standard Def tube television set. Because CRT sets are interlaced, it will mask these artifacts.
The solution to avoid this problem is to edit at the actual framerate you shoot at. So you should have captured the HVX footage at 23.98 or used the Panasonic framerate converter plugin prior to editing anything.
Again, this is a complicated issue that most people don’t understand. But it’s important to know it if you are working with equipment like the HVX200.
Sean
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I use these:
https://www.monoprice.com/products/product.asp?c_id=104&cp_id=10419&cs_id=1041907&p_id=2849&seq=1&format=2&style=They work great. Since you only need 80ft. I highly recommend this solution. You’ll just need HDMI/DVI adapters which that website also sells for very low prices.
This solution is for single-link only (for monitors up to 1920×1200). If you have a 30″ Cinema Display, you’ll need dual link – in which case you’ll need a much more expensive Cat5 type solution.
Sean
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[JeremyG] “Au contraire. David said that his clip was scaled, hence all that math.”
I misunderstood. That sucks, I hope they fix it.
But what I was also saying is that 480->486 issues aside, FCP 5 has always scaled clips when mixing formats. Put a DVCProHD clip in a SD timeline in version 5 and it scales it properly.
Sean
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[Taran Reese] “Cutting off an odd number of fields, like 3, would shift your field order, wouldn’t it? My understanding is that you’re supposed to shave off an even number of fields (0/6, 2/4, 4/2, 6/0) to maintain the existing field order. This is what Compressor does last time I checked.”
No it works correctly. Apple shifts the image by 1 frame when you do this to compensate. I believe it puts a “shift fields” filter on there.
This is what FCP 5 does. I assume it’s the same with version 6.
They’re not stupid. The FCP designers know how to transcode between 480 and 486.
Sean
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[David Roth Weiss] “So, I was tinkering under the hood a bit to see what exactly was going on behind the scenes with the multi-format thingie, and I stumbled upon the scale numbers in the motion tab. Somebody at Apple was really using their noggins on this feature, just so we wouldn’t have to use our’s anymore. That’s exactly what those Apple engineers should be doing, cuz hopefully they’re a whole lot smarter than us artists.”
I hate to break it to you guys, but this isn’t new. FCP 5 has always done this. The only difference now with 6 is that you get a green bar instead of an orange one. Obviously that’s huge, but as far as the genius math work – they already did that a long time ago.
Sean