[Tom Bailey]

Neil, thanks a million, thats worked perfectly.

It seems slowing it down 92.64% works, but thanks for the maths! Would have really been stuck on that.

[Tom Bailey]

Hi Neil,

That makes total sense about 25 frames = 1.08 of my 27 frames, I was being a bit slow there.
We will try these ideas to see what works best, from what my editor said it sounds like speeding up the footage has done the trick for now.

Next time if i hear the DoP wanting to shoot at 27fps I’ll stop them and suggest the shutter!

Thanks for your time and helping us get our thinking on the right path.
Cheers,
Bailey.

[Tom Bailey]

Hi Neil,

These were shot at 27fps to avoid a flickering light I believe, some kind of cinematographer trick. We weren’t shooting under a HMI but it was an huge industrial work light with its own generator and I think had a similar problem.

We double checked the shots that seemed to sync up and we think we were wrong- it just had footsteps in a wide frame and its a bit ambiguous so we didn’t notice but it is out.

Good news- speeding up to 108% on the video HAS worked, but its not good practice obviously and we would like to find a more elegant solution.
Something that might help our thinking- you said in your post “27fps to 25 fps is bound to cause sync issue”- could you elaborate on why this is? Is it a problem in our logic or is it that the Log and Transfer tool doesn’t do that properly?

Is it possible that FCP’s Log and Transfer tool is not actually reducing the frame rate?
Is there a program that will drop or merge those two extra frames… but without going all jittery?

Thanks this has been really helpful so far!

Bailey.

[Tom Bailey]

Thanks Ed,

I will try this.

Bailey.

[Tom Bailey]

I did find it and deleted all preferences but nothing changed in log and transfer! : (

Any other ideas?

[Tom Bailey]

Hi Phil,

is preference manager a tool in FCP 6? I’m trying to locate it to try this out.

Bailey.

[Tom Bailey]

Hi,

I realised first of all that although I had changed the media creation settings, they may have been different when I imported the file. So I re-imported. Still had the problem.

Then I realised there wasn’t enough space on the drive I was working to, so I used a drive with more room and it worked fine.
This took a while to come to because the error message wasn’t about the drive exactly.

On the same project I had a different problem; when I exported the film it looked fine but when i burnt it do dvd the image was all crammed into the top half with a green colour in the bottom half.
I tried a H264 (as opposed to Avid 1:1) and it worked ok, except part of the export that had nothing on it in the avid timeline had the same problem.

Can anyone tell me what this is for future reference?

Thanks,

Bailey.

[Tom Bailey]

Hi Jon, I’m sorry this has taken a long time for me to reply. I have tried variations on project settings and imports but with no results.

Im not entirely sure what the project settings should be ideally? its shot on a panasonic AG-HVX series camera in p2 HD.

[Tom Bailey]

Hi,

Yeh I have tried putting it on full quality playback but to no avail. I had a brainwave though, which was that it may have something to do with the colour space mapping. But I cant see where to set the colour space for imports because the main problem is the definition of colours and blacks in particular but i cant see where to set colour space when importing.

Do you know where to do that? do you think I’m barking up the wrong tree?

[Tom Bailey]

Thanks.

I managed to get a good result out of toast 10, surprisingly it managed to fit a 60GB 1:1 MXF export I had onto a disc. It still looks kind of soft, the lines arent as defined as even broadcast TV, but I dont know what else I can do.