Steve Braker
Forum Replies Created
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NTSC is 29.97 fps no matter what code you put on it.
Drop frame code skips frames in the code (doesn’t have anything to do with frames of video skipping) to make suyre 1 hour of code = 1 hour of real time.
Non-drop code just keeps counting 30 frames per second and ends up close to 4 seconds off after an hour.
BTW: NTSC is an SD standard; there’s no such thing as NTSC HD. But drop frame code can be used for any format running at 29.97. It is irrelevant for PAL and other 24 or 25 fps framerates.
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Reference movies are files exported by FCP to… wherever you chose to put them. While they “know about ” and refer to the FCP project, FCP knows nothing about them after you create them.
So you need to search your drives for them. But the only positivbe effect on FCP will be that your drives won’t be so full.
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Pure genius. Concise, too.
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MII was great for me. Very reliable, and because it was losing that particular format war early on, very cheap. I think it was NBC kept it going so many years. At the time I couldn’t afford BetaSP and it allowed me to work at the same level. Still have a working deck and large MII tape library. Anyhow…
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Widescreen production has been around for a long, long time. Or I guess I should say that it was around a long long time ago and then disappeared for a while. And it doesn’t have anything to do with being digital.
I did several widescreen projects on MII 10+ years ago. I think the widescreen flag was set on an internal board of the acquisition or edit deck or dock – either to avoid unintentianal tripping, or to avoid corporate embarrassment 10 years later when people would go “hunh? I’m sure BetaSP had the same, though they may have avoided telling anyone about it at all.
I honestly can’t say whether the widescreen flag was recognized and respected by downstream equipment at the time, as the programs were for specific projection installations. And I’m guessing since people don’t seem to know about it that it never did become accepted.
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Then that’s a monitoring issue, not a problem with the text.
Your external CRT shows The Truth about any interlaced video signal. Anything you see on an LCD – within FCP or not – has been compromised in one or more ways to show it to you.
If your distribution will be on LCDs (i.e. web video), then you need to work on best conversion techniques for that output only. If it will be via both traditional TV and web video, then you will have different outputs for each.
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Noise Industries (did I get that right?) has a very flexible plugin called “Old TV” which should do well for you. And it’s free for 15 days!
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That’s weird. BetaSP has a widescreen flag available.
And of course the signal going out over the air and presumably over satellite and cable does – when the content is 16:9. Exactly what the chain is that sets it up that way (or doesn’t) will depend on the individual transmission system.
If I were doing this program and the system didn’t support flagging, I’d switch the program to SD production. That way, both 4:3 and 16:9 viewers will get better resolution than they’re getting now.
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“…when subjected to MPEG2 compression via compressor they get lots of jaggies and look slightly soft”
As viewed on external NTSC (or PAL) monitor? Or how?
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Caution: make sure there really is a problem in the sync relationship of the files before you end up “fixing” something thast ain’t broke. Your sync problem could be in playback, in the monitoriing system(s) you’re using…
Easiest way to check the actual sync is to find a single sync point in audio and video that you can check by scrubbing frames. 400 pound weight dropping on studio floor, pencil eraer thwacking desk, etc. Identify the frame and see where the sound falls in the waveform.