The Edit doctor
Forum Replies Created
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Paralells is for quick access to Windows programs while on the mac…Works great
Bootcamp is for creating an actual Windows computer – runs faster and gives you the whole computer not virtual emulation – I don’t use bootcamp since I rarely using but one or two small windows functions, my brother uses windows a lot and MUST boot into bootcamp to get some windows functionality for certain programs.
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First, talk about what programs/methods you are using for sure. What is the sound editor using? Protools? Omf output from Final Cut…are you definatey using Final Cut?
24fps in Final Cut still works like 23.98fps to playout of the software. Final cut has been programmed to be smart in that 24fps does not playout properly to NTSC monitor, so they modify it work like 23.98 during the editing process. The difference happens when you export a selfcontained QUICKTIME at the end.
The best and quickest advice is NOT to work at 24 in Final Cut Pro, but at 23.98. Most sound facilites mix sound from a tape of your film running at 29.97 (beta sp, digibeta etc) DVD’s are 23.98 not 24. Most any thing that involves playing on a television needs to be 23.98 with pulldown added – mostly on the tape itself or on the fly with a machine that does it. A sound person can work from a 24 Quicktime and work at 24fps, but no matter what your audio needs audio pulldown and pullup versions for video, dvd or film.
Anyway, just state what programs everybody is using to do the work and then maybe we can all help out from there.
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Use the FCP Help in the FCP MENU… look up the SLIP TOOL…
here
https://www.kenstone.net/fcp_homepage/review_fcp2_bible.html
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Well.. two mistakes in row here, but… this may help just a bit.
Take your 23.98 timeline and export an .EDL of it. Make sure you don’t have tracks all over the place, one video track.
OPEN CINEMA TOOLS and choose, EXPORT/CONVERTED EDL/30fps from 24fps/ the choose the .edl you just opened. Give it a new name like 30 and add the extension, .edl to the name …so 30.edl
IMPORT IN FCP then reconect to the 29.97 footage. Again, this isn’t the way this is supposed to work exactly. You used fcp to remove an advanced pulldown that didn’t exist creating jerky images, then you wanted the timecodes to sync up to 29.97 when… they don’t. There are less numbers in 24fps then 29.97 and those numbers get progressively farther apart the closer to the end of the tape the footage is from. About 4 seconds difference total.
Anyway, you will still probably need to push each edit a frame or so, but you may be back in the ballpark.
Check out this DVD for possible help in the future though…
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Another ditto from me for the 3Way CC… features…network television…HD studio content…
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Excellent, there you go then.
Best wishes
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Read my previous post:
http://www.blackmagic.com – Decklink cards – PCI, PCI-E
The “flicker” you mention is regarding the 3:2 pulldown – the fifth frame is a hard duplicate of the 4th frame so to speak instead of an interlaced process with the B/C and C/D . This is 5% noticible to a trained eye and again, it’s for OFFLINE EDITING ONLY. Besides, this DV version is not you master. The master will be the D5 source but again….you really need to find out the frame rate. D5 is not a frame rate. It’s a format capable of multiple frame rates. If the film is a 59.94/30fps shot project then all the pulldown down methods you speak are really of no value.
This may sound a bit harsh and I’m not sure how you landed this project, but it appears you may be a bit over your capabilites. Recognize your limitations on this one. This is not something you can BS through.
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What form of HD is the shooting in? 1080i? DVCPRO HD 23.98? That kind of information would be helpful…
No, you can’t use FCP to remove pulldown on the fly (except 24p advanced Panasonic footage)
Decklink cards with FCP can function as a live pulldown removal, yet not 100% sure if it can do DV format on the fly, but other formats yes – like photojpeg). Please check their current stats at website http://www.blackmagic.com.
Yes, you can edit 29.97 DVCAM and use Cinema Tools to create a 23.98 cutlist, but there is a plus or minus one frame off potential for some cuts so the onlinepicture in certain cuts will have to be slid one frame to sync to the AUDIO created from the 29.97 cut.
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Nathan,
It seems there are many things incorrect with this. I hope a lesson gets learned.
In the future… don’t go directly to Protools. Use a dedicated recording device.
Now, your picture is 23.98 – and you are sure of this?! Take a quicktime of one long shot. Leave the audio tied to it.
create a 29.97 timeline and drop the 23.98 picture into the 29.97 timeline. Render it and output a 29.97 quicktime movie. You could put a timecode burn in on it for reference too using FCP TC filter as well.
now you have a 29.97 movie with camera audio on it.
Have the PROTOOLS import the 29.97 move (which now has pulldown on it) into their PROTOOLS. Have him to the same thing…sync up the clap to picture. Is it faster or slower. This will determine you speed/sample issue.
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you didn’t answer the question. is the audio FASTER in your FCP timeline than the picture…or slower?