The Edit doctor
Forum Replies Created
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Well,
480 footage in a 486 timeline is needs to be shifted one field up or down. There is a SHIFT FILTER filter in the VIDEO EFFECTS under VIDEO. Use it.
Since video is interlaced, the lower field first DV 720×480 footage is now upperfield in the 486 timeline… since you just changed the settings after the footage was there… final cut did not do this for you.
Add the shift fields to correct upper lower field issue. Now if there are 2 shift fileds filters by accident remove one.. you’re cancelling them out.
Render
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I used to find this in ASSEMBLE edits back with older Kona drivers. The first frame of bars which is at the right frame is what I just view as a stutter frame. The first frame and the second frame are the same but it’s bar and you can’t tell. So you go in at the right frame but the first frame is doubled.
I usually run bars and slate, STOP and then go back to see if this happened. I know I know.. but if it’s important… do it.
If you’re downconverting from HD to SD I notice a frame delay on our system for the converstion. One frame delayed.
I create DEVICE control settings for ASSEMBLE EDITS or DOWNCONVERT settings and use them appropriately. Calibrating variables is the key. After you’ve calibarated.. USE FCP RESCUE to save/BACK up those settings in case you trash your preferences down the road.
An immediate fix is to just use IN and OUT settings (change that in Mastering Settings as well) Set and IN and OUT point for the timeline BUT on the IN frame, right arrow +1 frame and then set the IN point. It’ll bring your program start back one frame for the ouput and then you can get back to work and do the fix/checking later when it’s calmer.
Are you KONA or DECKLINK?
Mike J. Nichols
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For the nitpicky I feel the distort setting is more appropriate set to -33.33 instead of 30.
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Yeah… I worry about updating someone else gear of course…. if I know it’ll work I’ll do it… but Kona software is involved with drivers..blah blah blah…
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Actually… you do not need an HD monitor to use Decklink Cards (or AJA I believe that is case). They have a feature that downconverts ON THE FLY to SD monitors. It works great. You can choose to letterbox it or leave Anamorphic.
Monitor remember…this is not your “end all be all of setups”…this gets you editorial monitoring…don’t color correct or anything else like that without a regular HD setup.
They are in fact cheaper than the MATROX. I own a DECKLINK Pro card – PCI-X and output HDV to Sd monitor on an older G5 Dual. The card was around 500 dollars. I am completely satisfied with the output for this use. The basic Decklink would work as well…but you just have to make sure you have all the connections you will need to make it work. I opted for the pricer PRO model to fullfill my needs.
I bet the Matrox is a far easier setup though. DVI plug and play kind of thing. Decklink, got open the computer and install a card and software. Scary for newbies. Might be worth the extra dough for simplicity.
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Bob,
Yes, I’ve used the bars in FCP and KONA. The difference… Only full Field bars are on Kona setup …when feed through the alarm doesn’t go off. But FCP bars do, the reds are to saturated and there are colors out colors in the low blacks of the bottom left Boxes. There is a lot of color saturation in the lows based on the Bar version of the vectorscope.
The Kona bars look normal for the monitor and the fcp bars look normal for the monitor calibration YET the both get different results in the Scope.
I appreciate the thoughts. Apprarently a loaner is coming so this one can be examined yet I still don’t quite understand the results.
So, Bob. With your Kona setup – puting up FCP bars through your rasterizer – the alarm is set for 109.4 yet it comes on with the bars and this doesn’t happen to you, correct?
We’ve also now played back through SDI previous tapes that went through and passed QC (they even went through a broadcast legalizer at the dub house) and the bars on it cause and error almost 90 of it’s footage contents as well. HD material too.
So, as in my original post.. I was just asking if I was missing a setting and that was why it kept inducing repeated erros. It’s refreshing itself as well, but the errors keep coming. The only thing that works it to convert it into RGB colorspace then back int YUV. I can export a still of the FCP bars and when brought back in…they DO NOT trigger and error.
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Adrian,
Leave your email and I’ll send you a couple a filters to try out regarding both of your issues.
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He needs to PULLDOWN the audio on his end. Logic is more a music tool in this sense. He needs to see if his program can pulldown his final audio.
But, take the audio file in your system, go to MODIFY/SPEED/ and change the audio clip to 99.9 percent instead of 100.
Your audio will now be in sync throughout.
Using FCP to change the speed isn’t as good as having say PROTOOLS pulldown this audio to this speed change which is the usual processing. I can’t answer for logic and it’s full interworkings – I know people that have used it for 29.97 shows..but that’s it, I hear this 24fps ONLY often though.
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There is no 24 fps dvd format. It’s 23.98 or 29.97 in NTSC. This was my point about starting in 23.98 throughout for many, many reasons. 24 fps work is for audiofile purists who are going to film, nontheless, at somepoint, this 24frame mix will need to be slowed to 99.9 percent to accomidate dvd or television distribution.
In your case like gary said, export your 24fps quicktime to the soundguy and let him work at 24 frame per second. But in the end, conform your master to 23.98 master quicktime (using cinema tools) for converting to 29.97(with proper pulldown) , Pal…whatever the need that arises.
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Was does the footage/clips (not timeline) in FCP say it’s framerate is? 23.98 or 24?
Did you sync up the audio to the picture shot by shot, was it already locked to the picture, and is this audio not the final master audio?