Shane Ross
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You are sure it is PAL? Just for yucks, try an NTSC Easy Setup.
MAN, I’m giong to have to dig into my memory here…
Shane
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Ah, ok, I see that now. It does make sense.
But why are you INTERPRETING the footage? If it’s 23.98, and your sequence is 23.98…why are you even doing that? What happens if you DON’T interpret the footage?
Why the HECK is it showing it as drop frame? So odd…
Shane
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Sorry, your screenshot didn’t come over.
Look at the burned in code…what number does it go up to? Are any frame numbers skipped? Is it timecode from the source footage? Or is it sequence timecode?
And why are you “interpreting” the footage? Isn’t that what is done to make slow motion? Interpret 60fps to 30 or 24, and it’ll play all the frames, but slower? So if the footage is 29.97…and is drop frame…if you interpret it as 23.98, it’ll play slightly slower. I might be completely misunderstanding what you are saying here.
Shane
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NOPE…because the text tools in FCP and Premiere pro are different. YOu’ll have to redo them. Sorry!
Shane
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Boost the highlights and if the background starts to get grey, then crush back down the blacks. Resolve would give you much better results, but it’s doable in Premiere. Not sure you’d be able to get it to match that other shot without quite a bit of grain, but possible. Again, Resolve will be far better at this.
Shane
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Since 23.98 cannot be drop frame by any stretch of technology (only non-drop), this is puzzling. Are you in a 29.97 sequence?
Or do you mean you want 23.98 to be drop frame timecode? Just making sure you said what you mean to say..
Shane
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Well, I don’t envy you and that mess! Too many people assume that you can just shoot with any camera, record audio separately, and you can just sync them. BUT, this might be possible, but you might need a third party app for it, but it’s one that is compatible with Premiere…Pluraleyes.
https://www.redgiant.com/products/shooter-pluraleyes/#hero
Shane
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Shane
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If you use a lot of effect and color corrections in FCP…most of those will not transfer to anything…not Resolve, not Premiere Pro. Because many are FCP only. Color corrections done with the 3-way Color Corrector will come across in Resolve, but not in premiere pro. Resizing will come across in both for the most part. But yeah, most FCP only effects won’t carry over.
It is possible to bring the entire FCP 7 project via XML over to Premiere Pro…bins and all. Not sure about Resolve, that usually only accepts XMLs of sequences.
[Leonard Levy] “I’m finally upgrading and coming into the 21st century.”
FCP 7 was part of the 21st Century…all the way to 2011. And still VERY viable. I mean, my advice is, if it’s working for you, then keep using it. Don’t try to transfer the project to another NLE just because FCP 7 is older…don’t do it just to do it. FCP 7 still works great…in fact, it was used to edit a current film that is up for an academy award for BEST PICTURE…”Parasite.” They started that project knowing the software was older…because it still works. Finish this project and then change to another, more current NLE, for your next one.
Shane
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Even with the Proxy workflow…the audio is NEVER touched…never converted to an “audio proxy” format. The only files affected are video files. So if you make low res proxies of 4K H.264 files, the audio is the exact, original quality. Because audio takes up very VERY little space.
Shane
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