[S. Marcotte]

The frame rate of all my files (as read by both AE and PP) is 23.98. Nonetheless, I tried to interpret it as 29.97, no good. To access the pulldown, I had to choose lower field first (which looks perfect, of course.) In any case I tried each pulldown variation and none of them removed the field.

There you have it. I’d still ike to try Twixtor, though. All the reviews are positive, and I have access to it though a friend. I’m just worried about what the interpolation would look like.

Here’s a question: Mr. LaRonde suggested I screen it on a good broadcast monitor (I hear that a lot.) Is this meant to imply that my footage may actually be fine? That a braodcast monitor would NOT show fields in the luckiest of circumstances? What would a broadcast monitor tell me that AE doesn’t already, as far as interlacing is concerned? Keep in mind, I’ve tried every interpretation setting possible in AE. What am I missing?

– SGM

[S. Marcotte]

Right. So then, the 24P camera shot at 29.97. Bringing it down to 24 is done at capture time, or at NLE time. By capturing at 29.97, your capture the tape faithfully.

Maybe I should move this stuff to the AE Basics forum instead.

If only it were as simple as recapturing the selected takes. You see, the files were too big to import, so I used an AVI splitter. Time code is different now. The fun never ends.

Thanks – SGM

[S. Marcotte]

[Dave LaRonde] “Either through lack of knowledge or laziness, you did this to yourself.”

Disgruntled editor. Well, I DO sympathize (respectfully). While I appreciate the lecture (sorta) the fact is it’s more complicated than that. Financing got pulled immediately after the shoot so my producer and I couldn’t afford a qualified editor. My background is 16-35mm. Years of it. Dues paid in full.

Thanks for the help though. What’s interesting is that some of the shots, not all, appear deinterlaced in Premiere Pro. That same shot in AE will NOT appear deinterlaced.

Talk about going back to school.

[S. Marcotte]

[Dave LaRonde] “I would STRONGLY recommend that you start the capture process from scratch.”

But-but-but… Damn. What about Twixtor and FieldsKit? Any hope in that? I do have the original tapes, but my budget is maxed out.

What if I leave the fields in? To what extent would these fields interfere with keying and compositing? Say I’m not planing on a film print down the line.

Come to think of it, I doubt you can add fields when rendering out of maya.

By the way, all 30-minute tapes were, in fact, captured as single files. You’re dead on.

That stuff about the camera resetting at every shot is rather interesting. I’m glad you mentioned it.

But please do comment on the Twixtor option.

Thanks – S.

[S. Marcotte]

The splitter came with a bold heading: “No quality loss!” I guess I just have to learn to trust these guys. Fact is, I can’t see any substantial artefacts.

Thanks – SGM

[S. Marcotte]

There’s a Matrox DVCPRO50 codec in there, but make sure it’s box is checked when you install it. May not be default.

[S. Marcotte]

I’ll look into that. Thanks very much. -SGM

[S. Marcotte]

I haven’t the slightest clue what a peak file is. But I tried deleting the Conformed Audio folder, to see if PP would reconform. And it did!

Thanks for setting me on the right track. It worked.

SGM

[S. Marcotte]

[Steven L. Gotz] “You are trying to apply this to a stereo clip in the project panel, right? Not on the sequence?”

Ooops.

Thanks – SGM

[S. Marcotte]

The problematic area is every single captured file (5 hours of DVCPRO50 captured over 10 large files.) The sound is simply 20 frames late. Easily solved, by nudging it over. Just wish I knew why. If the problem recurs after I render or export out of PPro, I’ll definitely take you up on your gracious offer.

Incidentally, I didn’t capture the footage myself, so I don’t know what the guy did. Is there any way of telling if frames were dropped, after the fact?

Thanks again
SGM