Sean Oneil
Forum Replies Created
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Try increasing the number RT audio tracks in you user preferences. This could also be a genlock timing issue. How are you monitoring the audio? Is it looping through a deck? Is the AJA control panel set to freerun?
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[Bob Cole] “Is this due to not enough room on my 3-drive internal SATA RAID? Is there a way to optimize the RAID?”
RAID-0 and RAID-1 are supposed to be in pairs. Having 3 drives is odd. Maybe that’s related but I doubt it. Trash your preferences before anything else.
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It will only work w/ DVCProHD.
If the intended framerate is 23.98 then try and use Cinema Tools. CT may not work with progressive-scan footage though. I haven’t tested this w/ the latest version. If it doesn’t let you do it then try putting the footage on a ProRes 23.98 sequence and render a little bit. See if it gets it right (you never know).
Otherwise it’s gotta come in at DVCProHD. I usually avoid the frame converter tool. It’s old and who knows if it even works w/ FCP 6. With FW you can just bring it in at 23.98 during capture using the 23.98 capture setting.
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[Brian Pitt] “If I create a ProRes sequence, can I copy and paste my assets from the original timeline? If I do this, will my graphics now be adjusted with the ProRes treatment?”
Yes[Brian Pitt] “When I’m capturing DV footage, Can I import it as ProRes? I hope that doesn’t sound stupid, I just really haven’t messed with this format at all, but I’ve heard good things about it.”
You cannot convert from DV to ProRes on the fly during capture if you are capturing over Firewire. Capture native DV and render your final work in a ProRes sequence. If you are capturing from SDI then you can and should use ProRes. You should NEVER use the DV codec when capturing SDI for any reason unless it’s an offline-online workflow.
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Digibeta is interlaced but you can still shoot and edit progressive scan if the camera supports it. The camera has to be able to shoot a 25p mode. It records it on the tape as interlaced PAL, but then you deinterlace it back to 25p in post. Because it’s a digital format, this is a flawless process if it’s done properly.
Most of my footage here is shot on film but given to us as NTSC digibeta. I can still capture it and do a reverse telecine, thus bringing it back to 24p. Same concept. But make sure the camera supports this capability. This would mean that the shutter speed is 25, not 50. I do not know if any digibeta cameras can do this. I’m an editor so I don’t follow camera trends too closely. But be aware that DV cameras work this way. Like digibeta, DV tapes are always interlaced. Even though most DV cameras can shoot progressive, and you can capture in progressive, the video on the tape is still an interlaced format. FCP just deinterlaces it for you during capture if you use a progressive-scan capture setting.
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Don’t forget USB 3.0 will be coming out too.
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[Arnie Schlissel] “FW3200 would be cheaper than eSATA”
??? FW800 isn’t even cheaper than eSATA.
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Has anyone seen a movie on TNT-HD? The majority of them are Teranex upconverts (you can tell because the AR is a warped 4:3 stretched to 16:9). And they look awesome. A lot better than SD. Upconverting CAN improve the image quality if done right, mainly because the process itself lowers the pixel aliasing. And when using a Teranex for example, it also has noise reduction and other techniques to improve the quality.
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Well there’s always Wikipedia :). I’m not an engineer or anything, but from what I understand you are right. Most LCDs have a max refresh rate of 60hz. Some newer consumer TVs are 120hz. The reason for this is that 120 is an even multiple of both 30/60 and 24. This allows stutter-free playback of native 24p signals (like from a blu-ray player).
LCDs don’t flicker or display black between frames or anything like the way CRTs work. Feed it an image and it will display it indefinitely as a constant stream of light – like a lightbulb. 60 times a second it will “refresh” to see if the image has changed.
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[Tom Brooks] “To my mind, 1080i is always going to be, in effect or in a manner of speaking, “540p60″ as it is displayed on a progressive monitor.”
That is absolutely not true. Much, if not most, 1080i is displayed as 1080p30 on a progressive monitor. Anything originating from film, for example, gets reverse telecined and converted to 1080p30.
[Tom Brooks] “If a camera is to record 1080i it will record fields that are half the resolution of the full frame”
Depends on the camera and the recording mode. Some will record 1080i with 60fps per second. But some will record 30fps. I have two video projects on our SAN right now that were shot natively on video at 1080i. One is the “540p60” type format. That was shot on HDCam. The other was shot on HDV, and that is a “1080p30” type format.
All 1080i masters originating from film is a 1080p30 type format. It is not 540×60. It is 1080 lines times 30 (with pulldown meaning there are 12 duplicate fields). Of course both “types” are the same 1080i timing signal. But one has segmented 60 half-frames, the other has segmented 30 full frames.
If you check my other posts I confirmed that the Kona 3 does indeed create a 1080p30-type format for most conversions to 1080i. It only does the 540p60-type format when the source is 720p60. Which makes sense.
[Tom Brooks] “One interesting point that all of this brings up is that any of the formats that sacrifice frame rate to achieve progressive frames (24P and 30P) also end up preserving all 1080 lines of resolution at all times (as long as you keep them away from interlaced NTSC displays). But at the expense of motion smoothness or frame rate. “
I’m under the impression that the vast majority of content is shot at 24 or 30fps. 60fps is not too common from what I can tell. I’m just going on anecdotal perception though. I really don’t know for sure.