Troy Murison
Forum Replies Created
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Shane,
Give me a call if you need help with this!
-Troy.
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Oops, I missed the PAL part….
It seems like your project settings are correct as others have indicated
IF the video was shot anamorphic. If you play back your footage on a
TV/monitor that is 4:3, does the video look tall and skinny and fill the
entire raster? If so, then it was shot anamorphic and your settings
should be working. But if you see the video displayed as letterboxed
and you don’t have a 16:9 switch enabled somewhere on your tv, then it was shot
letterbox and your settings you posted above will result in what you are
seeing.BTW, does anyone here know if the 100A does shoot true anamorphic?
I’m curious now.-Troy Murison
Seattle, WA -
I could be wrong, but I think the 100a doesn’t do true anamorphic-
so the video is actually just 4×3 letterbox. So your project should
be a 4×3 project w/.9 PAR, not 16×9 w/1.2 PAR. That would cause
what you are seeing if your project settings are at 16×9.Like I said, my brain might be faulty on this though…
-Troy Murison
Seattle, WA -
It is a CMX 3600 list but not to the strictest of CMX-ness. We have
always had to open Premiere lists in a EDL utility like Pre-Reader or
Phoenix List Manager and then resave them to work with most systems.
The CMX controller that our colourists use will absolutely not open
PPro lists.I really wish Adobe would get this kind of stuff right. It’s hard to
call yourself ‘Pro’ anything with issues like this IMO. Like you said,
just the shear lack of being able to control what you want/don’t want
in a EDL is frustrating, let alone the fact that it’s bogus when you do
export. I have never taken the time to open/look at a PPro EDL to see
what exactly is wrong. If you knew, you could conceivably edit it in
notepad rather than spend $$ on a utility. I don’t even know if/where
you can get the two I mentioned anymore- they’re really old! EDL Max
is one I’ve seen on the web but it’s really $$$$$. We don’t use PPro
workflow much. I would use PPro more if this and a few other closely
related items worked better/more reliably or even at all, so I just
took a shot at one of those utilities being able to sort it out and
that made the EDL work, so that’s as far as I got.-Troy Murison
Seattle, WA -
FWIW- you don’t need the cards to export to those codecs- you can download and use
the BM codecs from their website.-Troy Murison
Seattle, WA -
You could log the clips in PPro at home and then when you’re ready to transfer the
clips to FCP, just select every clip in your bin(s) and place them on a timeline.
Then export a EDL of that timleine and import that EDL into FCP and batch capture
the clips. The resulting timeline is only useful for this purpose but you’ll have
a bin full of the clips in FCP just like you did in PPro. There may be a way to
also export a batch list and convert it into something FCP could use, but using a
EDL for this type of thing since it’s so simple might be the trick.-Troy Murison
Seattle, WA -
Not in the way you speak of. There are columns in the project folder
that indicates the number of instances a clip is used in the project,
but that’s it. And if you have multiple sequences with that clip in
it, that column just tallies the uses for all sequences. There’s no
way in PPro to show reused portions of clips like in Avid in the timline.
That would be useful though! Submit a feature request with Adobe!-Troy Murison
Seattle, WA -
So if you’re watching it through a NTSC deck on a NTSC monitor this isn’t
suprising. The stuttering is caused by the software trying to send out
29.97 frame rate material from a 23.98 source. NTSC is 29.97 only. So to
get the effect of the roll playing correctly, you need to convert the roll
to 29.97 by placing 3:2 pulldown into it. PPro can’t do this. AE can.If you have AE, open your 24p roll, drag the clip to the ‘create new
comp’ button, then add that comp to the render que. In the render settings,
turn on field rendering (lower field first for NTSC DV), then choose a 3:2
pulldown cadence (which one doesn’t matter for this exercise). Set your
output settings to NTSC DV and render. Then take this new 29.97 fps clip
into PPro and play it. It should look a whole lot better. It won’t look
perfect however. If the final product is going to be a NTSC deliverable,
you may want to create two rolls- one for the 24p master and one for NTSC.
This will give the best result and is a very common way of doing this. Of
course, it complicates the mastering process for the NTSC master where
there will need to be a edit made to the tape (if that’s the final master format)
to insert the 29.97 rendered credits. This is due to the fact that FCP
isn’t going to let you have a 24 frame timeline and put a 29.97 clip in it
and have it play properly. So play it out to tape leaving a hole or placeholder
for the credit roll, then make a insert edit with the 29.97 NTSC credits to
cover that hole. I hope that makes sense.-Troy Murison
Seattle, WA -
Testing is a good idea. I didn’t remember 5.1 having that TC reading feature- that’s
actually kinda cool. But can’t you capture with the TC intact from the DVCAM tapes?
I can’t remember when/where Premiere was good with capturing from DV/firewire, so
maybe that’s not possible? Again, either way would still only get you to 29.97 TC, so…As for converting lists, we use the Quantel eQ to do this. Avid D|S has a utility
for doing this as well though I’m not personally familiar with it. The Quantel tool
exists as a stand-alone utility as well as being integrated into the system. Both
work perfectly. I know there are others out there too (EDL Max is one).Cinema tools isn’t the perfect solution for sure. Avid is the only offline solution I
know of that really does this well. It’s the way almost every motion picture is edited
these days. Cinema tools works but requires some baby sitting and waiting but it does
work. There may be workflows and situations that bring it down that I’m not aware of.As for using Premiere 5.1 to cut a feature (it is a feature?) I would be slightly scared…
I used to use it on a PC for long-form stuff and had some issues with audio sync and
general stability on really long timelines. And with only one timeline per project,
it gets hard to ‘version’ things and have your project still make sense. I do remember
5.1c on a PC being that way at least- don’t know about the Mac side of things.
Also, unless you’re finishing your audio in Premiere, you are limited to exporting each
audio track as a .wav or .aif to import into a audio session to sweeten. That gets
cumbersome as each individual clip on a track is ‘lost’ in the export. It’s not impossible
but there are better, more efficient options.If renting a film composer is a option, that might be the best idea. There are lots of
folks who know/support that workflow and can help you out. I don’t know of too many
support resources to help folks editing a feature for a conform to 23.98 using
Premiere 5.1.Again, tests and consulting with your post-house is the best bet. Hopefully this helps
a little!-Troy Murison
Seattle, WA -
In that case I think PPro has alternatives for working with the 24pA format.
I’ve never used it for 24pA though. The pulldown cadence is different and
incompatible between the Panasonic Advanced pulldown and ‘regular’ 3:2
pulldown used by the entire world for telecine and DVD and everything else
that’s converted from 24 to 30 fps. If you are using the 24pA camera and
capture using the 24pA settings, I assume that PPro handles the removal
of the pulldown and then is working in TRUE 24p. But, as I’ve said, I have
not used that feature of PPro. That feature works in FCP (there are
a few gotchas, but once you’re aware of them, it works well) and I have
used it successfully before.-Troy Murison
Seattle, WA