Sean Oneil
Forum Replies Created
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[Ed Dooley] “How did you arrive at that size? It’s kind of an odd one”
That’s the standard “Large” size Sorenson Squeeze uses in the Flash 8 presets.
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Use Compressor.
Sean
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[Ian Lamb] “I wonder if CinemaTools would let me do the reverse telecine with offline clips”
Yes it will.
[Ian Lamb] “Also, would copying and pasting into a new 23.98 seq keep the cuts frame accurate to compare to the ref cassette I need to upconvert? “
Mostly. But “bad edits” which are edits you made that are not film safe will be short a frame. This happens with EDLs as well. So you need to go through and close the 1-frame gaps.
Another option is this. If the SR deck has the pulldown option, you can just recapture at 1080i60. You can then export your feature as a Quicktime movie, and run it through JES Deinterlace to remove the pulldown w/ automatic cadence detection, thus bringing it back to 23.98.
None of these are simple. EDL may be your best option, depending on what your show consists of.
Sean
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You could do a DI and have the files transferred to your CalDigit drive. I don’t know the price of that compared to a telecine, but I know the quality would be vastly better and you wouldn’t need an SR deck.
Sean
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[Ian Lamb] “I was hoping to not have to use EDL’s since the effects will be lost, but I figured this was the only way. “
It’s not the only way. There’s a bunch of things you can do. The best method depends on your project size, how many tapes, etc.
Here’s one way that works if you don’t have a shitload of media source clips. Go to the Capture Scratch folder and run each clip through Cinema Tools (do a reverse telecine) which creates a new media file (you’ll need enough drive space for this). This makes your SD footage 23.98. You can then reconnect the clips in your sequence to this new 23.98 media. You should then copy and paste everything in your timeline to a new 23.98 sequence. From there you use Media Manager and batch capture from the SR deck like normal.
Sean
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[Patrick Marrero] ” In your opinion what is the best SDI to HDMI converter to use for this purpose. “
There is no difference in picture quality between any of these products. It’s a clean digital mapping process. I got the newest Blackmagic one because it was the cheapest.
For a capture card, I would go with AJA because the Kona 3 does vastly better conversions than any Blackmagic product.
Sean
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Your camera only captures 800 lines max. Shooting 1080 is pointless unless you have a specific reason to do so.
Sean
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[mark pigott] “If I switched to output on the Kona, my entire timeline would have to be re-rendered and God know what it would do to my standard def item!?”
Then you need to use a 3rd party filter to add 3:2 pulldown. Check out Nattress Standards Converter.
Unfortunately this whole 4:2:2:2 thing that FCP does is awful, archaic, and just plain dumb. It is by far my biggest complaint about FCP right now – especially since FCP 6 was marketed as being able to mix formats. Please send them feedback on this issue.
Sean
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The problem is that when putting 23.98 on a 29.97 timeline, Final Cut does not add standard 2:3 pulldown. Instead it adds 2:2:2:4 pulldown. Their reasoning (presumably) is that adding 2:3 eats up too many computer resources for realtime video handling.
If you have a Kona or Blackmagic card, all you need to do is edit in a 23.98 sequence. The card will do the work for you by adding 2:3 pulldown on video output automatically.
Sean
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Someone just posted a gamma shift in the first few frames of ProRes. This is f*****g ridiculous. Apple has literally broken Pro Apps with every other QT release in the past 6 months.
Sean