Shane Ross
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So they aren’t all individually on separate tracks in the sequence, but part of a “multiclip?”
Shane
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30p will also have movement in every frame. BUT, if you look at 60i footage in QuickTime, you’ll see the interlaced line artifacts…so that’s another way to tell
Shane
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You CAN….but then you’ll break all the links to the footage inside your project. BUT, what you can do is do all of this organization (I do it too, BTW…or did, rather)…make a new project and bring all the folders into this. Then your project will have the exact same organization as your finder…
Shane
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[Claire Panke] “is there a definitive way to tell if something was shot 60i or 30p (29.97)?”
Look to see if it plays smooth like a news cast or sports telecast or soap opera. Also, if you play back in QT on your computer, you’ll see interlaced lines. VERY few cameras shot 30p…most DV was 60i.
[Claire Panke] “Is there a way that something shot on DVCam in 2004 would be 30p or was that too early?”
Not too early. I think some cameras MIMICKED the look…some good, some bad. Some would shoot 15fps…repeating every frame (Sony…such garbage, had to deal with that on a Scott Baio pilot). Not sure which actually implimented 30p, it’s an odd format…I know that Panasonic did the 24p in 60i look with the DVX100a in 2002. Mainly this is done by eye, but also done on an external monitor…while paused, do you see both fields stutter on some shots?
Shane
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Sorry, Michael! I’m horrible with names. Faces I have down PAT, but I can’t see your face here. And judging one’s level of skill is tough too. Sorry if I was condescending at all…
Shane
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No…the text is part of the PSD file. If done in PSD, it needs to be changed in PSD. Even FCX can’t dig into a PSD file and change the text.
Sorry
Shane
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You need to use Resolve to do this. You export an AAF or XML of the project from PPro…import that and media into Resolve. Then in the DELIVERY page, convert the media to DNx36 MXF as individual clips, and then AAF out to Avid.
Shane
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Double click on the clip once you get it into the timeline. This will load it into the VIEWER. Click on the EFFECTS tab at the top, and then increase the SCALE…
Shane
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First off, there is a forum for older FCP, it’s called FCP LEGACY:
https://forums.creativecow.net/applefinalcutpro
Secondly….are you going to be DELIVERING 4K? is this going to have a 4K finish, or are you going to be delivering 1080? If delivering 1080, just convert the footage to 1080p ProRes 422 or HQ and cut that. If you want to reframe the image, meaning make use of 4K in a 1080 space so you can zoom in without losing quality, then you are going to have to do more of an offline/online (low res edit, full res finish) workflow like Warren laid out. But then, that begs the question, will you be finishing in FCP 7, or something like RESOLVE? Resolve handles 4K…FCP 7 does not. But Resolve is a bit of a complex piece of software.
I just want to get a handle on the level of complexity you are going for…what is this for? You are borrowing software to edit this, so this means that you don’t own this software and do this often. And you are using software that is at your disposal, instead of getting your own. So do you need the complexity of converting to low res, editing, relinking to full res, or do you just want to make the footage workable to edit…yet still look good? And do you really need to deliver a 4K master?
BTW, ANY software would be struggling to edit 4K RAW…most convert to manageable formats for editing, some in the background, like FCX. But editing 4K RAW takes a powerful machine and fast hard drive storage.
Shane
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Well, first off, you are going to be capturing all of it as DV/NTSC via firewire…that’s the way to get full quality.
[Claire Panke] “1. I now have a few tapes that were shot with my earlier camera EONS ago – Sony VX1000. I am embarrassed to ask this but I can’t figure out what format this is! When reviewing a bit of the footage containing movement it appears ALL interlaced.
No idea what to use as the capture settings. “It is…it’s DV 29.97 interlaced. Progressive didn’t really exist in the SD world until Panasonic came along with their DVX100, and initially it was 24p but as 29.97 interlaced..the 24p LOOK, but interlaced. Like what film looks like when telecined to tape. So this footage you’ll have to capture 720×480 29.97 interlaced…DV/NTSC. And deinterlace it with the Nattress stuff.
[Claire Panke] “2. I have one tape that I thought was shot with the VX1000 but as I toggle through the footage one frame at a time it is showing 2 interlaced to 3 progressive, so I’m thinking I must have been wrong about which camera it was shot it. When you see the 2:3 cadence it must have been shot in 24p right?”
It could be the fake 24p…where it’s 24p but running in a 29.97 interlaced stream, as mentioned before.
[Claire Panke] “3. The daughter of one of my characters shot a bunch of footage on DVcam years ago and we want to use that as archival material. I had dubbed it all onto miniDV (back when that was a good format to use!), and this footage also seems to be all interlaced when looking at movement-containing snippets. “
Most likey was. DV was mainly an interlaced format. SD generally was…
Shane
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