Tom Brooks
Forum Replies Created
-
Use Quicktime, not DV. The settings in Streamclip export should match the corresponding settings in your sequence. No render will be needed.
-
That Easy Setup is correct. Could you be running into a FirwWire bus conflict issue? In my G5 setup, I have my FireWire 800 drives on the internal FW bus and then I have a PCIe FireWire card to which the camcorder is attaced. This is for two reasons. One is that the camera conflicts with the drives if they’re on the same bus. Two is that connecting camcorders or other devices while powered can fry the FW bus. By using a cheap PCIe card for the camcorder, I will more likely toast that than the G5 system board (althoug my STRICT policy is never to connect FW to a powered camcorder).
Final Cut Studio, FCP 5.1.4, After Effects 6.5 Pro, Quicktime 7.2, G5 Quad 2.5, Kona-LHe V3.4, 4.5GB RAM, Nvidia GeForce 7800-GT 256MB, G-RAID 2x1TB FW800, Mac OS-X 10.4.10.
-
Have you studied this tutorial?
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.htmlLong story short, you can edit your 24p normal footage in a standard DV setting. When you go to DVD, Compressor will treat it like standard 60i DV and it will look similar to most movies that are transferred to video.
You could use Cinema Tools to remove the pulldown from your 24p Normal footage and then edit in a 23.98 timeline. This would give you the limited advantage of making a 24p DVD, but you may not notice a difference in most of today’s DVD players. Don’t go there unless you have a real need to.
As far as anamorphic goes, I believe the DVX-100B is like the DVX-100A in that it requires an anamorphic lens to get best quality for 16:9 shooting. You have to try this workflow before you shoot.
-
Are you capturing from P2 cards or from DV tape?
-
Good advice from Shiloh. Take a look at Nattress standards converter too.
-
I do not have the critical needs for my TH37PH9UK that CharlieX has–what with the telecine and all. But I’d like to do what I can to match the Sony CRT monitors that I have.
Is there any value to using one of those consumer oriented Avia calibration disks or similar or is that just a pipe dream?
-
You shoot 24fps on the Canon but capture it as 60i without removing pulldown? Therefore your timeline is 60i. Therefore the titles you make in FCP are going to have the 60i motion. I can see how that would be not so good. You’re kinda stuck with that unless you decide to work in a 23.98 timeline in the future.
Or, you could produce the graphics in an app that allows you to export them as 24fps with pulldown added.
Less complicated workflow might be to switch over to a 30P model. It allows you to get some of that filmy motion and it’s easier to make your titles match–you just set the sequence field dom to none.
-
It’s weird that only SOME of the cuts are this way. If you shift fields on the whole clip, I assume the OTHER cuts will now be off–or not?
-
Was the tape from which you are capturing made from a 50P source? In that case, cuts in the 50P sequence can happen every 50th of a second and a downconvert to SD (50i) could have what appears to be cuts done on the second field. This came up in regard to another post made by Leftycutter, I believe.
-
I am on the edge with FW800 when outputting 720p60–especially when it gets down to crunch time. For some reason, it’s always then that you need the speed.
Next chance I get, I’m going to five SATA drives and above.