Tim Kolb
Forum Replies Created
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It’s an either-or situation…
You can’t create a custom setting in desktop mode and get DV project FireWire functionality…
I believe that the CCDs in the XL1 are actually interlaced, so if the footage was recorded on an inherently interlaced camera (I’m not an expert on Canon DV cams) the footage would actually be “PsF” or “progressive segmented frame” The frames may be imaged from one instance in time (as opposed to interlace which images across two instances in time…each 30th of a second frame is actually two 60th of a second fields), but spread across two fields to create what the computer sees as an interlaced file. I would suggest you right-click on your footage and check the properties for field dominance…I’d guess it’s “lower field first”.
You could always finish your project in the interlaced project and export a master clip with “no fields” I suppose…then load it back into a normal DV project to get it back to tape.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
How did you test the output of your drive?
SATA 2 is supposed to run around 3 Gbps (375 MB/s) I thought…
It isn’t your C: drive is it?
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
Once the typestyle is the way you want it, I’d add it to the typestyle library below…the button for the menu is in the upper right hand corner of the typestyle tab…save style or something like that.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
TClark,
Thanks for that post…I am certain it is useful information to many if not all of us.
One clarification: Do you mean turn off the eyeball on the track that contains the nested sequence in the “master sequence”? The eyeballs stay on inside the timeline window where you are editing the sequence which is nested…correct?
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
You have two choices as I see it.
You could set up a 4:3 project and end up cropping the outside content of the 16:9 footage.
Or you could set up a “fake letterbox” in a 4:3 project using the Title Designer to create a black bar at the top of the screen and a black bar at the bottom based on where the borders fall when you shrink the 16:9 content to fit totally on the 4:3 screen and crop the 4:3 content so it looks like it was shot 16:9 as well…and deliver the final video as a 4:3 file with a letterbox (tell the client it’s the “Director’s cut” and charge extra…:-) )
I would probably lean toward the second option if the client will go for it as you have more flexibility that way…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Steven L. Gotz] “I am thinking you might want to create a 1080i project for your 1080i footage, deinterlace it on the timeline, and then export it to CFHD AVI at 720. Use that in your 720 project. Just a guess.”
I might try a short export with the footage untouched, then one deinterlaced. You may maintain better clarity if on export, the conversion to 720p can use both fields for interpolation…a test would determine this.
…but this would necessitate you picking your shots ahead of time or exporting (and therefore rendering) lots of raw footage vs. just rendering your selects on the edit timeline. Unfortunately, you’re rendering in some form with this variety of raw media.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[cow_fan] “I was thinking that by using the progressive mode by shooting in 24p, I will make the stair-stepping go away. I thought that the stair-stepping was there because it was shot in interlaced mode. Am I right?”
My first line in my intial response covered this…you may see some interlace edges on movement as projectors are progressive scan devices, but the amount of scaling the image has to do is also going to affect this…standard def can start to look pretty rough on a large movie screen.
[cow_fan] “If I use the Panasonic, and the picture is blown up to the size of a movie theater screen, is it like watching a VHS tape on T.V.? Is it that bad? Or worse?”
VHS is analog…image scales differently…different projectors respond differently…is the screen 10 ft across or 30 ft?…etc, etc, etc. DV should look better than VHS under the same circumstances of course, but DV shot with an unknown skill level projected at an unknown size with an unknown projector vs VHS on some unknown television model is a pretty hard comparison to even attempt.
[cow_fan] “Now if I use the FX1, can I just use the Magic Bullet plugin to convert everything to progressive? Thanks.”
You can…it takes a long time and keep in mind that to do HD, you will need the higher priced Magic Bullet plugin. The base version only does SD.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
[Blub06] “I think what is causing this miscommunication is the word professional. I don
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My first suggestion would be to avoid mixing three vastly different picture formats…
JVC: 1280×720, true 24p
Sony: 1440×1080 Cineframe 24 is 30i with a pulldown to 23.97 or 24 depending on how you captured it, and of course
Sony: 1440×1080 30i interlaced
You could try to recapture the 30i stuff as 30p through HD Link and get rid of the ragged interlace edges (and roughly half your resolution)…but the render thing will persist. You have media on the timeline that doesn’t fit what the timeline is set up to do in real-time (720 24p it sounds like)…the 1080 content is not the proper framesize for the project. That will require rendering on any editing app that I know of…
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net -
The DVX 100b is a standard def DV camcorder…blowing up standard def to the size of a movie theater screen will create stairstepping because of the low picture resolution…the framerate has nothing to do with it. The FX-1 is a high definition camcorder and footage from that camera would “blow up” much better…if there was a way to play it back. You would most likely have to play it from a PC as HD DVD players and burners haven’t really taken hold just yet.
If you’re really set on 24p…the DVX100 has far better 24p than the CineFrame mode in the Sony…but the Sony has far better picture resolution.
…that doesn’t even touch on editing the content, which is a new topic entirely.
TimK,
Kolb Productions,
Creative Cow Host,
Author/Trainer
http://www.focalpress.com
http://www.classondemand.net