Sean Oneil
Forum Replies Created
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[m31films] “But the source shouldn’t really matter, seeing as how FCP only sees what I get out of Shake after the uprezing / deinterlacing… that being:”
The actual framerate of the source matters a great deal. If it was shot at 24fps, the process is simple. You’re not actually changing the framerate, you’re just removing the pulldown. Straightforward and no margin for error.
But converting actual 30fps to 24 is completely different. In this case you are changing the actual framerate. This is more like voodoo in the sense that the results can vary dramatically depending on what tools you use. I do not know how well FCP 6 does this, but this type of workflow is supported which likely explains your positive results. Haven’t tried it myself but I hope someone else who has chimes in. I have done it in FCP 5 and the results were not very good.
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[m31films] “Does anyone have any experience with this?
If so, is this is a reliable work-flow? Meaning, if it “looks” right, am I to assume that it “is” right?
“What is the true framerate of your source footage? Was it actually shot at 30fps, or is it 24fps w/ pulldown added?
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https://www.apple.com/finalcutstudio/finalcutpro/support.html
This was the key feature to FCP 6.
It doesn’t always work though, so be careful.
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Just a guess, but you’re probably using the demo version of Flip4Mac. Check for Flip in your system prefs. You need to buy it for full functionality.
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For cheap enclosures, check out Addonics and Norco (google them).
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Doesn’t matter. You can mix different types of TC on the same sequence (which I assume is what he did). His concern is that once he converts the 29.97 footage to 23.98, he’s afraid he’ll lose his edit decisions for those clips because the TC will be different – but it won’t be.
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[dmoney1429] “I’m worried about the other footage and losing the in’s and out’s when we go to a 23.98 timeline”
Whenever people post their confusion about this (and I hear you – it is all very confusing), there is one thing people never seem to wrap there heads around…
Final Cut can store 29.97 timecode within 23.98 footage (and vice-versa). That means when you convert your 29.97 footage to 23.98, it will still have the original 29.97 TC. Thus you will NOT lose your in and out points when you reconnect the converted media.
Even if your conversion tool (After Effects, Compresser, a plugin, etc.) tosses out the original TC, you can re-assign it in FCP using “Modify -> Timecode”.
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[tom] “This ProRes codec that know noting about (do all FCP users have access to this codec, or only with certain capture cards)? 8 or 10-bit uncompressed?”
ProRes is similar to Media 100 Lossless. Only Final Cut 6 includes it. You can edit the Animation codec directly in FCP, although you will not get any RT effects.
As far as audio monitoring. Some cards/BOB options have analog audio outputs. But most just have digital. Google “Flying Cow” or “Behringer Ultramach Pro”. These are two products that allow you to convert digital audio into analog XLR for your mixer.
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Thanks I’ll look into all those options.
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Thanks guys.