Shane Ross
Forum Replies Created
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[Warren Eig] ” Can you use the the canon plugin and long and transfer?”
No, it’s tape…not a digital file, so you have to Log and Capture. BUT…there is a way to capture HDV as ProRes. Only, it’ll still be 1440×1080, with anamorphic flags to stretch it out to 1920.
There’s a tutorial on that here at the Cow:
https://library.creativecow.net/articles/poisson_chris/hdv-prores.php
Shane
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[Olivier Prudhomme] ”
Shooting NTSC 24ps would be shooting 25 PAL right? “Now, I understand that 29..97 is…. 25 PAL as well….””No. NTSC is a very specific format. Standard Definition 720×486, 29.97fps. PAL is another completely different format. 720×576 at 25fps.
24fps is a film frame rate. 23.98 is an HD format that closely resembles a film frame rate, but is one that you can deliver to TV networks for easy conversion to 29.97 (59.94i).
NTSC is the North american standard … PAL is the European standard. Well, in terms of broadcast anyway.
[Olivier Prudhomme] “Does this mean that PAL material has the NTSC 24fps film look?
No “video” / 29.97fps type of look?”Yes…25fps being very close to 24fps, it has the film look. BUT…when interlaced…50i…it still can have a video look. Interlaced means two different fields…and there are two fields in a frame. So 25fps interlaced is 50 individual images…and 29.97fps is 60i…60 individual fields…so 50i can look very video like, as it is.
BUT…25p will look like film, yes.
Shane
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What sort of footage are you working with? 1080p…4K? Red, H.264, ProRes, AVCHD? A machine as old as yours might not be able to handle native codecs (depending on what the codec is). You might need to transcode in order to to edit smoothly.
Shane
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Double clicking will jump to that marker in the timeline. And when I press ENTER, it opens up the MARKER DIALOG window, and brings me there. Running 2018.8. What about you?
Shane
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Obvious solution…don’t update. Keep using what you have until you can’t use it anymore. I know a few editors who are STILL cutting with FCP 7. Others with Adobe CS6…
Shane
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We have a well labeled library of options…slug in something close, or sometimes spot on. And then a pro sound mixer, who has years of knowledge of what they have and what will work will come in and replace them. Or, they will foley them.
After many years with a library of sounds, you get familiar with what you have and what will work.
Shane
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[Jared Hawco] “My question is do I need to de-interlace my VX1000 footage before editing? If so, what is the best method?”
Well, where will this be seen? TV? WEB? If on TV, even if from a DVD or BluRay…that would be fine as interlaced, as TVs show interlacing. However, if on the web, then you need to deinterlace. Man, the best deinterlacer out there might not be out there anymore, as FCP 7 has been DOA for 8 years now. It was the Nattress Deinterlacer, part of a pack of his.
[Jared Hawco] ”
I don’t want to de-interlace the whole timeline during export as I feel this will affect the Super 8 clips because they are progressive.”It won’t affect them at all…as they are progressive. But having 29.97 footage and 23.98 footage mixed…the best way to mix 23.98 as 29.97 is to have it in an interlaced project. However, FCP doesn’t add the proper 3:2 pulldown to make it look right. Unless….again…you had a Nattress plugin.
[Jared Hawco] “Final output is to SD DVD and Vimeo for web streaming via Compressor. Any help is greatly appreciated.”
OH, didn’t see this when I started. Interlacing is fine for the DVD, but web streaming, it’s not. So might have to deinterlace just to be safe.
Shane
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Either that excellent advice…or what I ask all clients to do. Export a full resolution TEXTLESS version of their project, so that I can chop sections from it that prove troublesome. Such as speed changes, stills in the timeline, plugins specific to the NLE.
Shane
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Why do you need all of the separate audio tracks for the online/color correct? When I online/grade I get a stereo mix and that’s it. The AUDIO MIXER gets an AAF of the audio and starts the mix. But the online…doesn’t do audio, so no need for the separate tracks. Or are you doing something completely different?
Shane
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[Steve Parisi] “The specs I received were kind of sketchy at best, which is part of the reason I turned here for some input. This is what I received for the video specs:
Video Spec: will be up-converted to 4K, can deliver at 1080p with 59.94fps”
This might be a good time to call and talk to someone at the networks TECH department about this. Because if you are shooting 4K, then you might consider providing a 4K master to them as well, so they don’t need to take your 4K, downconverted to 1080, and then upconvert that to 4K. Also see if they wouldn’t just take a 4K master instead of a 1080 master, and they do the conversion on their end? This is what I’d do…communicate right away. Don’t try to guess at this, talk talk talk.
And 1080p at 59.94 fps…that’s an odd deliverable. NO broadcast does that format and frame rate. Broadcast is 1080i29.97. Wonder if they want that for the web. A lot of deliverables are switching to 1080p29.97 for me because they want to also post on web, and web doesn’t do interlaced.
Shane
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