16mm film transfer to mini DV tape

I feel a little embarrassed about asking this question, as I have asked it before last year but can't remember how to fix the problem and can't find the print out of the answer,so here goes again.
I have had some 16mm film shot at 16fps transferred to tape After capturing the footage into PE 3 I need to change the speed to 24fps to match other film transfers I have captured.
I remember it involves open the "INTERPRET" frames I think but I can not find this option.
So I am hoping the kind person who answered my question before is still reading the Forum.
Ken

HI steve and Junoflydog,
Thank you for your replies to me question.
Juno, I did as you suggested and it worked fine, thank you for your help.
Steve, applying Frame Blend did nothing to correct the problem, I entered Frame Blen into PE3 Help (keyboard) got no result as what it is used for.
As I am thinking of going up to PE7 I was looking for books PE7 and found your "The Muvipix.cpm Guide to PE7, looking inside in the Index under "I" i saw Interpret Footage I entered that into Help no result,although I have been able ti fix my problem using Time Stretch I"m annoyed that I can not correct the speed of my clip as I did last year from a reply in this forum. I clicked somewhere a windo oped asking to enter FPS and bingo it was fixed.
I thank you again for your help.
Ken

Similar Messages

  • Transfer of mini-DV tapes from Panasonic NV-GS120 to MacBook Pro via FireWire port (9-pin)

    I am new to Mac and love it. I would like to transfer my old mini-DV tapes from Panasonic NV-GS120 to my MacBook Pro via FireWire port (9-pin), but am not sure which port to use on the video camera. Reading from the top on the Panasonic video camera there are three options: a "mini-usb" port, a "remote/mic (plug in power)" [not likely] and finally a "A/V out phones" jack entry [which I use for viewing the tapes on the TV screen via the jack cable ending up in a red, yellow and white cable to plug into TV.
    I have read Bengt Wärleby's excellent instructions and am ready to buy the FireWire cable (9-pin in one end - Mac), but I am not sure if it is the mini-usb or jack-stick exit of the video camera. Or, indeed, if there is talk about an external A/V box needed to decode and transfer the digital tapes to iMovie on the Mac.
    Any clarification is highly appreciated. Thanks for all suggestions.
    JLens

    The port you're looking for is the DV Port (in your manual it's marked as control component #55). I looked up your camera and it does have it. That's the port where the firewire should fit. Hope to have helped you.

  • Question about transfer from Mini DV Tape

    How many GB's does the transfer of a 1 hr mini dv tape to Final Cut Pro takes?
    As a single 1-hour-long clip

    Hmmm… I'm glancing at two charts I have that are rundowns of formats and their resolutions, bit depths, storage requirements and other technical data. One says 11.25 GB, and another says 13.0 GB! Neither clarify if they include audio data in that or not, either way the information is conflicting.

  • Film Transfer question

    Re: 16mm film transfer
    Hello;
    I have some vintage 16mm film that I would like to have transfered to an editable format. If I work in FinalCutPro what format should the 16mm film be transfered too so that it can be edited?
    Any suggestions for a quality-reasonably priced -Manhattan based vendor who will do this work?
    Thanks for your suggestions

    If your system can handle HD, I'd ask for HD files on a drive since they'll likely crop the 16mm image to 16:9. That way you'll get as high a quality transfer as you can.
    Andy

  • How do I transfer mini dv tapes from a Sony videocamera to my macbook?

    How do I transfer mini dv tapes from a Sony videocamera to my macbook?  Issues are: my macbook has no hdmi port, no firewire port, and Sony does not support streaming USB between its mini dv tapes and Macs.
    Only available ports on my macbook
    I've been told I need an "external firewire capture card" to basically give my mac some semblance of firewire ability.  But no one so far can tell me definitively 1) what product to purchse and 2) that it actually works.
    I have had some tapes converted by Costco to dvd but those do not work - they are in an uneditable dv format.  I want to import the tapes to digital format in order to edit and create new video from them.
    Thanks!

    If you have tried all the Google search suggestions including the YouTube tutorials, then it's time to contact Sony tech support.  Or post in the iMovie forum area. 

  • 16mm film digital transfer question

    Hi...
    I've been reading posts for several days trying to figure this out myself, but I'm a newbie.
    I was wondering if anyone could give me the preferred specs for transferring 16mm and 8mm film to digital files in order to use in Final Cut Express. I don't think HD is necessary but I want it in the best quality to edit in FCE.
    1. What do I ask for from the transfer company, Apple Pro Res 422? What would the technical specs, codecs be?
    2. Can anybody recommend the best company on the east coast or otherwise.
    Thanks in advance!
    JP

    Hello, and welcome to the Apple Discussion forums.
    If you are using Final Cut Express, there are 2 choices:
    • QuickTime/DV-NTSC .mov files
    • QuickTime/Apple Intermediate Codec 720p30 or 1080i60 .mov files
    Some considerations:
    16mm film is 4:3 aspect ratio; 8mm film is close but not exactly 4:3; DV is 4:3 aspect ratio - so using QT/DV-NTSC fits nicely
    Apple Intermediate Codec is intended for 16:9 (widescreen) HD video but it may give you slightly better visual results, although you would wind up with pillarboxed video (4:3 in a 16:9 frame). Ask your vendor to provide a small sample file in both QT/DV and QT/AIC and compare the results before committing to the conversion.
    ProRes is not supported in Final Cut Express.

  • Archiving Mini-DV Tapes - iMovie or QuickTime 7 Pro?

    Hello,
    I've been through many similar posts here and on the Internet.  Like many, I have mini-dv tapes that need to be archived to an external hard drive for storage and editing, later.  After considerable research, I am inclined to select either iMovie 6 HD or QuickTime 7 Pro as the capture and editing application of choice:
    Due to the skip field issue on interlaced source material, it appears that iMovie 6 HD does support interlaced source without resolution compromises.  It's not clear whether the skipped field occurs at capture as some purport or as a new project; regardless, the skipped field negates iMovie 8, 9, 11, and probably 2013 (mavericks) consideration for capture and, moreso, editing mini-dv imported video.
    QT7 Pro has been suggested by some as having some strong file format/conversion features.  In addition, while its' editing features may be more limited, this application merits consideration if it truly provides a long-term archival format capability.  The native .mov format appears to be a historical main-stay for Apple (notwithstanding iMovie 2013).  And, the appeal of QT7 Pro is its' ability to import mini-dv tapes continuously without multiple clips and time-code issues.
    Final Cut Pro is not part of this thread's objective despite obvious strengths.
    It all boils-down to which would be the best (lossless transfer/no compression) capture application (iMovie 6 HD or QT7 Pro) and lowest common denominator file format (dv or .mov or other) for long term archival and editing at a future time.....
    Suggestions?

    My preference would be iMovie 6 as DV files.

  • Help on film transfer choices

    I am producing a documentary. I am using interviews I shot on a Panasonic DVX100A NTSC and I'm using lots of archival footage. I am well into the editing process as my project is already well over an hour.
    I am having film footage trasferred to Mini DV tape to I can capture into FCE. I have been asked the following two questions by the lab.
    1. Specify time code preference: drop frame or non-drop frame.
    2. Indicate whether you want speed correction for any footage that may originate from pre-sound or silent era or if you prefer any such items to be transferred at 24 frames per second.
    I have not shot any interview using 24p. And all the footage is from the late 1950's and early 1960's. Any suggestions as to what I should do?

    1 - for your purposes, I don't think it matters. Tell them non-drop frame.
    2 - Your film footage isn't old enough to need the speed correction they're talking about. I don't think I would adjust the speed. If your main video sequences are NTSC (29.97fps) that's what you want the lab to give you.

  • 16mm film in FCP - sound synch.

    I am making a working edit of a 16mm film in FCP. Once complete the EDL will
    be used by a neg cutter and the project will be finished as 16mm show print.
    All the sound was recorded wild and although most is not in need of a tight
    synch. there are short spoken sections that must be lip synched.
    In FCP we have both video and audio, but the runs faster than the audio and
    a lip synch. is impossible.
    We telecined to DigiBeta but also laid the picture off to DVCam (with TC and
    Frame Numbers in pic.). We captured from the DVCam into FCP. In ignorance we
    did not pay attention to the capture rate or the frame rate of our sequence,
    so used 25 frames for both. We want to do as much work in FCP as possible to
    produce a sound track mixed down onto DAT for the production of a optical
    soundtrack neg. FCP is helping us make decisions for the neg. cutter but is
    not usuable as a guide to edit the audio.
    This may be a problem of our own making but any advice as to how to get out
    of this impasse would be much appreciated.
    G4-dual 1Ghz   Mac OS X (10.2.x)  

    Many thanks.
    We telecined to PAL video (UK). Does this still use 3:2 pulldown? or a different system? Cinema tools doesn't offer Reverse Telecine for changing PAL 25 fps to 24 fps, but it does have a Conform tool which allows me to do something similar (I think). Will this have the same effect and bring the video back to match the film and audio speed as it was recorded (24fps)?
    If you are going to cut the negative you'll need
    something more than an EDL. EDLs track the xfer tape
    timecode, you need to give the negative cutter
    keycode number from the negative. You can xfer with
    keycode burn in for this. Is that what you did? Talk
    to your negative cutter and see what they want.
    Yes I think we did. We have two counters burnt in vision on our DVCam dub. One is TC (from the telecine) the other has the suffix FN (frame number?). We will talk with our TX guy for confirmation. However these FN numbers do not appear in the FCP EDL - is it possible to generate an EDL in FCP that references the frame numbers/Keycode?
    Again thanks, any more info on using Cinema Tools with PAL material would be welcome.

  • What is the best way to convert mini dv tapes to digital

    I have a Canon ZR800 that I have created several mini dv tapes with.  What is the best way to convert these tapes I made to a digital format?  I have a Macbook to use for the digital format.

    Hello Jhoslter,
    To transfer footage from the ZR800 to your Mac, you will need a firewire (IEEE-1394) cable and a firewire port on your computer.  If your computer is not equipped with a firewire port, we would suggest contacting your computer manufacturer for information regarding which firewire card will work best on your system.
    As it is only possible to transfer video to a computer via firewire connection with the Canon camcorder, any video capturing program that supports firewire connections should be fine to use to transfer video to your computer.  Canon does not manufacture video capturing programs or support a particular brand.   
    Canon does not require firewire drivers for any of our miniDV camcorders.  Our camcorders use the driver for your firewire card to communicate with the computer.
    The appearance of the "DV IN" message in the camcorder's LCD screen indicates that the camcorder has detected your firewire port and is waiting for a signal from the video editing software to begin the transfer of footage.  The remainder of the transfer process is controlled by that software; we would suggest reviewing the instructions for that program for further information.
    Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

  • 16mm film to Digital (Flicker Problem)

    I am transferring 16mm film by projecting it to a screen and then capturing it with a Cannon  XL2,
    These are very old family films that are not the greatest quality to start with so quality is not an issue.
    We just want to keep the old movies but not to go to the expense of having it done professionally.
    We can even live with the flicker but if there is a way to reduce it some, that would be nice.
    I have searched the forum but all of the posts dealing with flicker are old, like 2006 or so.
    I am wondering if FCPX has some kind of filter available that would help.
    Thanks for any input.
    Jac

    a) a projection usually creates issues with socalled 'hot spotting' - that's easy to fix in post
    b) projection and video-cam are never in synch - which creates flicker; theoretically, you could try to set the projector to 30fps, and slow down the 'Keystone Cops'-effects in post. but your cam is electronics (and, to be precise 29.97), a projector is mechanics ... never in synch, neverever .......
    c) your camera records 'lines' of pixel - which could miss part of the frame, which is fully projected; this creates the annoying 'running bars' - so, the shutter speed of your cam has to be 1/30 (if 30fps projected). And has to be in synch with your projection ....
    jac Colon wrote:
    …  We just want to keep the old movies but not to go to the expense of having it done professionally.
    all that would be 'solved' if done professionally - no projection, but each frame gets scanned = time/costs.
    I remember a product, kinda box, two holes, one for pointing your cam into it, the other to 'beam' into with your projector; the tiny 'screen' inside was sort of 'phosphorized' material which had a split-second of 'afterglow'  .... came up in the 80ies, when first home-video-cams appeared, and people tried to transfer their 8mm stuff; perhaps you can find such a Magic Box (no idea, what the correct term is/was) in some garage-sale ......

  • Problem with create archive from mini-DV tape

    I have a fairly large collection of homemade mini-DV tapes. They are getting a bit old and I would like to back them up to my computer as well as have easy access to the footage with FCP.
    The tapes were made on a Sony TRV8 camcorder (either directly or as backups of older VHS tapes). I am using the same camcorder for playback.
    The camera shows up as expected in FCP. My goal is to "Create Archive" on each tape. Here is where I ran into some problems.
    My first tape ran about halfway through - around the 30 min mark and gave me a "end of tape" message. The footage was captured properly, but there is still half the tape to go. I tried a second time and only reached the 5 minute mark when the archiving ended with an "end of tape" message. I am on my third try as I type this and have made it to the 15 minute mark.
    I thought to possibly create multiple archives, picking up where I left off. However, whenever I select "create archive" FCP insists on rewinding the tape to the start. This behavior differs from the Apple KB article which states archiving will start from the current position of the tape.
    Adding to the problem is an issue of jittering playback.
    When I playback using the camera controls of the "play" button in the import window, things are fine. When "Create Archive" handles the playback on its own, the pictures jumps as if it is on a trampoline. Sometimes I am able to hit "stop" and then "play" to get a normal playback - sometimes hitting stop stops the archive with an "end of tape" message.
    Any ideas on what is going wrong or how to work around it? I have over 100 tapes to archive. If each tape requires numerous attempts to archive, this will never get done. I thought the archive process was supposed to import the entire tape?

    The bit about archiving from the current tape position is from Apple:
    "Final Cut Pro begins archiving from the current location on the tape."
    From Final Cut Pro X: Create and manage camera archives
    Last updated 9.16.14
    Obviously, that is wrong.
    The part about archiving ignoring timecode and just archiving the entire tape I have read in several online forum posts. Some I believe are in this forum. These same folks usually advise to use archive rather than import in a bad TC scenario. Again, it seems that wrong information.
    I am now simply doing an "import" of a tape, which appears to be working as expected. Seems either the age of the tape and/or the playback device is causing less than perfect timecode. Lot's of stutters resulting in a single "scene" being imported as many separate clips. I understand what you mean by assembling when ready to edit, but this is not practical. It looks like some areas are broken down to clips of 1-2 seconds (some even less).
    What a mess. I'm looking for a mini-DV player as I suspect my camcorder may be the culprit. Not easy to find one.
    Seems I will have to assemble the multiple clips to recreate the original. I am hoping I can then output the assembled sequences to DV files to maintain the "original" quality of the import (which should be the same as the tape since it is all digital). I would then create some FCP libraries to organize and store the clips.
    Was really hoping to simply do the camera archive thing. My tapes are all cataloged and organized. Having a number of archives which match each tape would have saved a lot of time and trouble.
    --and thanks for the help. It's a bit frustrating trying to preserve old tapes, especially when things don't work how you expect. Any workarounds or ideas to get a library of raw files out of this mess is appreciated. IF I can get that far, I plan to back up to M-disc.

  • Faster Importing From Mini Dv Tape...?

    In Adobe Premiere Pro, is there a way to import from a mini dv tape faster than real-time? 

    Flux Capacitor + Delorean running at 88 miles per hour.
    DO NOT interact with anybody as you start the capture.

  • How to import mini dv tape as one clip?

    I am trying to backup some old mini dv tapes.  When I import from fcpx it splits the clips into individual files each time there's a scene change.  I don't want this to occur and would like just one long clip to be recorded.  How do I do this?  Is there a way to stop fcpx from splitting clips?
    Any help would be great appreciated!
    Thanks,
    Scott

    Thanks Andy for giving the time and energy to try and solve this.  I really appreciate it.
    The sorting option is new to me so thanks for telling about that (I've just downloaded the 30-day trial version of FCPX last  night to hopefully address this one single issue that iMovie cannot do so I am totally new to FCPX but it's pretty intuitive especially being familiar with iMovie. This is my first and only version of FCP and will likely buy it if it can help me with this one huge hurdle). 
    There are several configurations that can be tried for both "Group Clips By" and "Arrange Clips By" but I was unable to find the right combination for both categories to give me the results I need.  Perhaps I've not done this correctly and all I need is the right coaching for what both settings should be at.
    I'm not sure exactly what you are asking about for the Inspector view information.  I will try to attach an image of my screen.  It appears that each clip has the label of what day it was shot and what time.  The Master video however has clips arranged completely out of chronological order and so there lies the problem.  Perhaps you were asking about something else though and I'm just not sure what it is.
    THANK YOU FOR GIVING ME YOUR THOUGHTS!  It's kind of impossible to find help on this or a complete definitive answer so your time is very much appreciated.  If you travel to McCall, Idaho for a ski trip I will buy you a lunch or copious amounts of microbrewed beer.
    ~Nate

  • Question for Sue and others - Problems exporting back to Mini DV tape

    Hi there Sue
    This is a very interesting concept that you have mentioned in another of your posts:
    "In the past, many posters reported this type of problem. There is a workaround that I realize should not be necessary, but it has helped many.
    Instead of exporting to the camera, "Share" your iMovie video as a QuickTime Full Quality DV
    Import this QT movie into a NEW iMovie project.
    Then export (share) that to your camcorder.
    It does take time to convert the imovie to QuickTime, but in the end it should work."
    I have a similar problem where that when I want to back up by edited movie back to mini DV tape, there might be the occasional 'dropped frame' or image break up that appears from time to time on my back up tape. This then renders this back up useless for my purpose. Currently I select 'share' and then 'video camera' to perform this action. Sometimes I think that its Imovie's fault that these errors occur and sometimes I blame the video camera - who knows?!! One thing I do notice is that when looking at the video transferring from Imovie to Video tape, any error wont show on the Imovie window, but will show on the video camera flip out screen. I wonder if it means that it is the video camera's fault?
    Do you think that your process might cure this problem?
    Many thanks
    Daniel
    MacBook Pro 17" Intel & Powerbook 17" 1.67 mhz   Mac OS X (10.4.8)  

    Hi lorddim1,
    In addition to Sue's great advice, another method of exporting to your camera may solve your problem - a method which I always use with success. In iMovie's Preferences (Menu>Preferences), check the box "Play DV project video through to DV camera". Set your camera to the VCR (Play) position and simultaneously click the Play button in iMovie and the Record button on the camera (or camera remote).
    After exporting to tape, it's best to then un-check the Preferences box, as leaving it checked can sometimes mute the audio playback in iMovie in some versions.
    The quality of the export is identical to that using the "Share" feature in iMovie. It may also help to set the iMovie Preference for Playback to "Standard (smoother motion)" and to ensure that, in the Timeline, "Show Clip Volume Levels" and "Show Audio Waveforms" are not activated (go to the View menu for these or Control-Click on the audio track/s). The less iMovie has to worry about, often the smoother the playback. Please note that the Playback preference has no effect on the quality of the export - it's only a setting for playback on the monitor.
    Hope this helps!
    John

Maybe you are looking for