Tony
Forum Replies Created
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Emily,
If indeed the footage is actually 60P (which is really 59.94P if the on board vtr was set to 59.94 HZ) then you do not want to edit in a 23.98 timeline.
I am still confused as to if you actually have any 24P footage based on your last response.If all the footage is 60P then you will have to edit in a 59.94 timeline. It get alot more complicated when trying to deal with frame rate conversion from native 60P (meaning no 3:2 was added during the original recording) to 24P. There are third party fcp filters to deal with this if so needed.
If you edit in a 59.94 sequence you can still use the the FRC for the 40fps clips as the FRC plugin allows using it with 24,30p and 59.94P sequences.
The issue of digitizing and capturing only half of what you logged has to do with the on the fly 3:2 removal.
HD viewing can refer to alot of different applications. I take this to mean you were not planning to do a film out? Does your final output need to be 720P or 1080i.
What are the delivery spec’s for your project.
You may end up having to cross convert at some point if 720P is not the final delivery format.
Tony Salgado
Tony Salgado
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Ed,
No need for anyone to eat anything as the information conveyed regarding this issue was well worth it.
We may all different methods to describe similar techniques and procedures which result in identical results.
In anycase Harley’s input was quite welcome.
Tony Salgado
Tony Salgado
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Emily,
Generally the reason to shoot at 40 or 60 is for slo mo playback at 24P (which is actually 23.98).
Unless the program did not need a “filmic” look then shooting at 60 would be standard assuming you are not working in a PAL country.
If this is the case 40 fps would not be slo mo but actually fast playback at 60.
I don’t want to make any assumptions so all I can recommend is verifying what actual frame rates were recorded by conducting the following test with the 1200A.You can verify what the actual frame rate recorded was by scrolling thru the counter button on the front of the 1200A and find the user bit information display which will show that frame rate. Do this step when playing back the footage, even if you fast fwd or rewind the user bit frame rate information will change once it see a different frame rate.
You will know you are at the right user bit display when you see 24 or other frame rate displayed second from the right and it will remain constant until a frame rate change is made. Other displays are timecode, format, control track, etc.
If indeed you did shoot at 60P then capture at 59.94 and edit in a 59.94 sequence.
Use the FRC to deal with the 40P clips.
If your footage was shot at 24P then capture at 720/24 which will do a reverse 3:2 during the capture (firewire or HDSDI) or capture at 720/59.94 and use the FRC to do the reverse 3:2. Either method will work. Using the FRC as the second step is more time consuming for 24P footage but is necessary for off speed footage.
If you don’t want to switch back and forth you can capture all the footage at 720/59.94 and then use the FRC to remove all the extra frames for the 24 and 40P material.
Firewire capture is great to preserve the native dvcpro HD codec but the vtr transport is very slow. I advise capturing the video via firewire but using RS-422 vtr control via your blackmagic card. You may have to figure out what the tc offset needs to be when using the blackmagic card for deck control. Contact Blackmagic for the specific details.
If you capture via firewire make sure your capture settings are correct for device control as well as the capture codec settings.
Have you checked your OSX version and QT version as well?
What version of FCP are you using.
What type of raid or harddrives are you using.
Tony Salgado
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Are you capturing via firewire or HDSDI?
Are your capture settings at 24 or 59.94P?
What is your sequence setting at 24P,30P or 59.94? You have to decide what sequence timebase you want to work at because when you use the FRC plugin you will end up with a different temporal result depending on the sequence time base chosen.
A tip if the camera was primarily set at 24P and occassionally some other off speed frame rates were used then work in a 24P sequence.
When you capture the 24P material you can reverse the 3:2 during digitizing thereby capturing only the native 24P frames but you must specify the proper capture settings (720/24P not 720/59.94). Or you could capture everything at 720/59.94 and then use the FRC to extract all the extra frames including the 24P as well as all the other frame rates chosen. It will take more time to use the FRC plugin but may be simplier for your workflow.
However if you want to use undercranked or overcranked footage you must capture at 720/59.94 and then use the FRC plugin to remove the extra frames.
Before you start anything you must make sure you have downloaded the DVCPRO HD components as well as the FRC plugin. Both are available for download by visiting the Panasonic 1200A webpage and look for the page which has the links to the two downloads needed.
Be aware to make sure you are using the right OSX version as well as Quicktime.
Using a fast G5 CPU makes a major difference when using the FRC plugin. A dual 2.7 G5 is quite fast when using the FRC plugin.Lastly you need to make sure you have all the 1200A menus set correctly depending on how you are capturing etc. Read the 1200A manual for specific menu settings.
Tony Salgado
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Jeremy,
Currently the only color critical LCD available is from Ecinema along with their HDSDI-DVI converter box.
The unit is around 15K with both units. The feedback from major telecine and colorists here in LA has been quite well.
But if you are on a budget then picking up a used PVM-20L5/1 is a good buy.
Tony Salgado
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Harley,
I use the same technique you mentioned to identify individuals drives as well as my raid. However what Bob Zelin and I were referring to is when one or more of the raid drives are down and you have not identified or marked the drives in advance.
In such a case you will have to go one by one connecting and disconnecting each drive to find the drives which are not mounting.
Identifying the drives and cables in advance is a great procedure to avoid pulling out drives to identify them. On my own FCP system I have identified the individual drives but the G5 I had problems was a rental.
The first time I used the rental G5 with a Sonnet sata card the raid would not mount. The drives and cables were not identified in advance so I had to go drive by drive to find which ones were not mounting.
The final issue I had was when Disk Utility did identify two drives which were stripped as a raid but the raid and drive icons were grayed out disabling me from erasing the drive and starting over. One of the problem drives was connected to the rear corner Sonnet Sata port. After switching the cable to another port on the Sonnet card it still refused to mount.
The drives are now out for service.
Tony Salgado
Tony Salgado
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Greg,
The kona 2 would not output a centercut from SD material only HD presently.
But you can use FCP to do the center cut the trick is knowing the right scaling numbers along with distort and aspect ratio.
Provide your email and I’ll send you the numbers I find which work great.
Tony Salgado
Tony Salgado
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Do you care about using the firewire I/O as well as retaining the image quality by digitizing in the native dvcpro codec?
If so you need to get a Panasonic vtr with firewire. The dsr-11 does not playback dvcpro only dvcam.
The DSR-1500A plays back dvcpro but with no firewire output only analog component when playing back dvcpro.
If you shoot dvcpro 50 you will need to make sure the vtr is capable of playing back dvcpro 50.
Tony Salgado
Tony Salgado
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Bob,
Well said and exactly the “real truth” about SATA. Cheap cheap and cheap and you get what you don’t pay for.
I have experienced the pain of trying to find which drive is not mounting with the Sonnet card and disk utility is not the answer. I can’t see why Harley even mentioned this as a solution because this does not work.
The only solution is to go one by one to find out which drives are mounting.
Tony Salgado
Tony Salgado
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Have you considered taking a FCP editing course to get you up to speed on all the in’s and out’s of the software and hardware in under one week.
This would be money well spent instead of trying to waste countless hours with a pencil stuck in your eye.
Don’t blind yourself with frustration get the education you need and move on.
Knowledge is power… power is change.
Tony Salgado
Tony Salgado