Sean Oneil
Forum Replies Created
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[Shane Ross] “Shutter speed has nothing to do with frame rate or slow motion or anything like that. It allows more light in, also if you point the camera at a TV that is 60hz, that matches the frequency so that it won’t look all TV freaky on you (dunno the term). But since I am not a shooter, I don’t know all the reasons.”
It has more to do with it than just that. The shutter speed defines the temporal rate of motion. 60i captures 60 unique moments in time, per second, not 30. Modern televisions decode 60i to 60p. When deinterlacing and encoding 60i for the web, one would actually have to encode to 60p, not 30p, if they want to retain all the temporal info. So to me, when discussing digital video workflows (as oppose to discussing electical engineering) it’s makes vastly more sense to refer to 60i as “60fps interlaced” – or perhaps “60 half-res frames per second.” When shooters and editors think about and talk about “frames per second” they’re not concerned with electrical scan rates. They’re concerned with motion in time.
Sean
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Glad it worked out!
Sean
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[Mark Raudonis] “I’m not gonna be a spoiler, so… did you see the last page?”
I saw it. Absolutely amazing.
Sean
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[Michael Palmer] “I’m still not sure of the proper setting but the best so far was capture mode Field 1, Fields A”
Don’t do that. “Capture Mode” should be “Field 1 – Field 2” although I work in NTSC not 1080i so it may be “Field 2 – Field 1” for 1080. Try both but don’t use “Field 1” as that probably throws away half the resolution.
For “Fields” choose Style 1. There are five choices. Whatever frame the playhead is parked on, it will assume that what you choose here. 3:2 pulldown has 3 progressive frames followed by 2 frames with mismatched fields. Park the playhead on the first of the mismatched ones during anywhere in the video. This is the “BC” frame. So then choose “BC” and you’ll be good to go.
Note that if there are timecode breaks, or the footage was edited at 60i in any way, then the 3:2 pattern (cadence) is broken so the pulldown can no longer be removed with Cinema Tools. You can try JES Deinterlace which does the same as CT but detects cadence breaks (as long as there aren’t too many close to each other). If that doesn’t work you’ll need to use Compressor which analyzes each pixel to fix errors (this takes a VERY long time). Last resort, take it to a place that has a Teranex, although I’ve found that’s not always flawless.
As I’m sure you learned by now, you should have mastered that hdcam at 23.98 PSF.
Sean
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My mistake.
Sean
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[Tom Wolsky] “Which is what I was saying, that you often have to have grading done earlier in the process. With a dynamic link system it would substantially bog down editing, which is why rendering out the grade often works better.”
There’s plenty of workflow situations where it makes more sense to render it out first. Nobody is suggesting they take away that option. But for for every one of those there is a situation where a dynamic link type of workflow is vastly superior. Especially if you take into account more powerful computing in the near-future. There was a time not too long ago where multi-format sequences weren’t allowed because it would bog down the editing.
Sean
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[John Menick] “1080p can’t be edited in anything other than FCP 6, and FCP 6 can’t run on a G5.”
Both of those assertions are false.
Sean
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[Alan Lacey] “Disableable background rendering”
FCP doesn’t have background rendering (I wish it did and I think it was mentioned). It has automatic rendering during idle, but you can turn that off.
Sean
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[Tom Wolsky] “This workflow is great for motion graphics. I’m not sure it’s suitable for workflows in an editing process that requires color correction, where the color correction may take place fairly early in the edit workflow rather than at the end. I think it would simply bog down the editing process.”
I have a client right now who wants to see serious color grading during the creative process. It’s very frustrating. The term “picture lock” isn’t in their vocabulary. They’ve been making changes to the script after asking to see it color graded.
And then there’s those who do an offline/online workflow. If you offline in ProRes but want to finish in Uncompressed, and you have a client like ours, obviously the current workflow for Color is a serious PITA.
Sean
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You’re right, I shouldn’t have called it destructive. But about the lack of integration, I think your perspective may be off due to being a Final Touch user before Apple bought it. I’m sure if Apple built Color from the ground up like the did Motion and Soundtrack, things would work much differently. But taking an already finished product probably makes it much harder for them to integrate it.
Sean