Tom Brooks
Forum Replies Created
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I have that G5. I don’t edit HDV, but do DVCProHD. No problems with either though. Look under Log & Transfer in V6.
Final Cut Pro 6.0.5, Mac OS-X 10.5.6, Quicktime 7.6, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.
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The FCP Manual tells how to do this IF your clips all have matching time code. In other words, if all your cameras on the set were synchronized to the same time code for the duration of the shoot (Vol II, P. 244).
Or, how about put all the C1 clips in a sequence, export Quicktime Movie (Current Settings, Self-Contained), then import that movie as the new C1?
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The way I read it is that Roz has a 1080p24 master and needs to supply a SD 29.97 piece for someone else to use. In order to preserve the timing of the Roz’s edit, the logical way to do this is to add pulldown. This will result in 29.97, interlaced but with the same length and the same “24p look” of the original edit. It draws from the progressive frames and pulls down fields from them in the 2:3:2:3 pattern to create the i29.97 version. Much like a telecine. That appears to happen correctly with the Adv Format Conversion in Compressor.
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Roz, these conversions are tricky and the software doesn’t always get all aspects of them right. With your sequence at 23.98 going to say, Uncompressed 8-bit, I’d guess that Compressor’s Advanced Format Conversion is your best bet unless you have a Kona card or the like and other necessary hardware.
The end result with Compressor should be at 29.97 frames per second with 2:3:2:3 pulldown. Remember that this is an interlaced format. You should see what appears as 3 progressive frames, then 2 interlaced frames, then 3 progressive, and so on. This will not be visible on a proper interlaced TV monitor.
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Your settings are fine in FCP. The pixels in your sequence are non-square as is normal for display on broadcast devices. But for display on computers, you need to compensate for the fact that pixels are square. You are correctly changing the image size to 640×480 on export.
Your original question is such a huge topic. There are a ton of variables involved in answering it. I suggest you find a site similar to what you’re after and try to discover how it was done. Flash video seems to be dominant nowadays and H.264 is currently the hot codec.
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If you want 1080i60 footage that has the look of 24p, you need to shoot regular 1080p24, not 1080pA24, and edit it as 1080i60 with the pulldown left in.
Shooting 1080pA24 is causing you extra headaches to try to reinsert pulldown to result in 1080i. You should only shoot 1080pA24 when you really need a 24p (23.976 in this case) master.
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I like the guru reference. Sound effects came along with Soundtrack Pro. I don’t recall whether your version came with that part of the studio. If so, it would be in the Library of that program. If not, or if the supplied sounds are not to your liking, you’ll need to climb higher to find what you are looking for. Try searching for “sound effects library” in the forums.
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Give us more info please. Do you know what format was shot? What are your sequence settings? Was sequence automatically matched to captured clip setting by FCP? How are you monitoring in Final Cut? Do you have a proper monitor or are you only using the Canvas? Is Canvas set to 100%?
It does sound like it could be a field order issue.
Final Cut Pro 6.0.5, Mac OS-X 10.5.6, Quicktime 7.6, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.
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I’m no expert on 24p because I always shoot 24pA but it seems that attempting reverse telecine on an edited sequence with mixed cadence would not work. Your best bet for that is simply a high quality motion compensated deinterlace. So forget about the reverse telecine and just turn on frame controls and set deinterlace to Better. Better yet, remove pulldown before you edit via Cinema Tools. Better still, shoot 24pA (or pN if you have it) and remove pulldown during log and transfer. You should find info in the help under HD and Broadcast Formats.
Final Cut Pro 6.0.5, Mac OS-X 10.5.6, Quicktime 7.6, Adobe Prod Prem CS4, G5 Quad 2.5, Kona-LHe V6, 8.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, 6TB RAID-5 (Enhance E8-ML, Highpoint 2322), Panasonic HVX-200P P2. Also MBP 17″ Core 2 Duo 2.5, 4GB, GeForce 8600M GT 512MB.
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What can you do? Either you use a software transcoder like Compressor or Squeeze with presets for editing formats or you find a way to play it out through a hardware card such as Kona and record the result. If it opens in Quicktime Pro, try just saving it as a QT movie. Or even try simply changing the filename extension to “.mov.” Is your Quicktime the latest version?