Tony Silanskas
Forum Replies Created
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Let us know if it works as I haven’t had these issues before. Trying to replicate it here without any luck.
tony
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Have you tried transcoding your h264 files to another codec like ProRes and see if the problem is still there? h264 is a terrible codec to edit with in Final Cut and it’s always best to transcode first.
tony
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Thanks for the input. Maybe the next version of Final Cut will finally resolve this pulldown issue.
tony
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I think this might be your problem… The way the Log and Transfer works in Final Cut with the Canon files is it looks for the original folder layout that was on the compact flash cards. I don’t have a flash card with me right now but it’s something like DCIM/EOS100/1234MVI.MOV. If you create the at folder structure and then just point it to the DCIM folder (or whatever it is) then Final Cut should recognize it.
Also, you could have errors with some files. I’d recommended you use a file verification software when you first load the compact flash cards in so that if there is a problem with a clip, you will know then. The one I use is called Shotput Pro.
tony
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Have you tried making an image of the problem cards using a program like P2CMS from Panasonic and then try and capture from the image file on the hard drive? You could have errors on the card and the P2CMS software will detect those. Plus, it’s always a great idea to make an image of your cards first with a byte verification program that checks for errors. Just think of them as film mags.
tony
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But… it will cost you in storage space and render times. If you can afford it, stay in HD as Final Cut’s resizing algorithms aren’t great and make the HD image softer than if you converted your HD to SD through compressor or After Effects at the end.
tony
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Edit in 1920×1080 and then downconvert at the end. Always best to have as Native a final file as you can so you can convert easily and cleanly to whatever format you need in the end.
tony
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And you make a good point about the 1080p 59.94. The very reason I haven’t made that leap is the fact that it’s a huge jump in space, renders, and we’d need a new reference monitor just to preview it. It would be down-converted to 29.97 for broadcast.
So for those of you editing Discovery channel type shows with different frame rates and delivering in 1080i 29.97, are you converting all your footage to 29.97 first so you can easily deliver in 29.97? Or are you editing in 1080p 59.94 so you have the correct size and pull-down and then convert to 29.97 at the end through After Effects or compressor?
tony
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First off, thanks for chiming in and taking time to discuss. As far as footage goes, we have a bunch… about 3TB of 23.98, 2TB of 29.97 and a little 720p 59.94. When you have to, do you deinterlace in Final Cut with a plug-in or take the clip through compressor?
tony
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[Jeremy Garchow] “In 720p, FCP correctly adds the PROGRESSIVE 3:2 pulldown, so you’re all good. In 1080i/SD project, FCP will not add interlaced pulldown.”
How about 1080p 59.94 if we want to keep everything at 1080 resolution? Sorry, I’m not in front of my Final Cut system to test it and didn’t think to test 1080p 59.94 until now.
tony