24P VS 29.97 WWII Documentary

Hello all
(I'm really sorry for posting this twice - but it looks like this may have been a better place to post this, as no one responded the other post)
I've gotten a lot of help here in the past and I really appreciate it...
As I'm getting ready to shoot a re-creation of a battle that took place in North West Africa in 1943, I've hired a few cameras besides using my own GL2; using a few 'other' Cannon GL2's, a Panasonic AG-DVC80, and a Panasonic DVX100. They all seem to be somewhat equal in capability. (within reasonable comparison to each other)
These cameras are of course Non-HD, (it's all I can obtain), and all (except the DVX100), are NOT capable of shooting in 24P.
I've heard different things about 24P, but make no mistake here, I'm restricted to using standard 29.97 - I've only got access to cameras that shoot in 29.97
Is that such a bad thing?
Well, as recommended here, I bought the Nattress Filter Package that has many options for creating varying intensity of 'Grain'
I've already made a 10 minute segment of WWII impresionists, and it came out quite well with the Nattress filters. The downside is the lengthy render time with filter attributes copied to many many frames ...
I've also heard that with 24P (although it may look more like film), can be problematic in that it may produce an undesirable 'stepped effect' in regard to action and fast movement.
Any other thoughts on this?
http://ww2survivorstories.com/
Thanx
Mike
Message was edited by: ENIGMACODE

I think there's exactly two reasons to shoot 24p.
1. You're printing back to film in the end.
2. You plan a very long show that has to be burned to a single sided DVD, so you can cram more time on your DVD with fewer frames per second...
In all other repects 24fps is inferior to 30fps... it has judder... i.e. fast movement looks pretty bad. 30fps looks smoother in every respect. There's a lot more to a film look than just 24fps... shallower depth of field, and a higher contrast ratio for starters.
The idea that 24fps looks better is an "Emperor's New Clothes" situation imho.
Jerry

Similar Messages

Creating Violent Shudder - (Artillery Blast) - WWII Documentary

Hello all
I've received some pretty good advice here on the forum. And in regard to a WWII documentary that I'm working on,
I plan on using a few Cannon GL2's, a Panasonic AG-DVC80, and a Panasonic DVX100. They all seem to be somewhat equal in capability. (within reasonable comparison to each other)
Anyway, I've assembled 20-30 WWII impressionists for a re-creation of a battle gone wrong in North West Africa 1943. In one scene, one of the veterans tells of how Rommel's 10th Panzer caught their platoon in open ground, and laid deadly artillery fire upon them.
We cannot use explosive charges, but I can simulate shells landing nearby by their reactions, perhaps camera movement, and of course sound effects. I've tried a few settings in 'Live Type', but I can't seem to get the right effect.
Was wondering if anyone has ever tried to shake physically shake the camera? Is this a 'controlled science'?
Thank you
My Web Site:
http://ww2survivorstories.com/
Message was edited by: ENIGMACODE
Message was edited by: ENIGMACODE

Camera shake can be done manually or siulated. If it's done on set, you are stuck with the baked-in effect. Do it in post.
You probably already have Motion but you will want to get After Effects. This kind of psuedodoc usually requires tons of effects. And you must anticipate the expectations and sophistication of your audience to establish the credibility and therefore expense of your effects sequences.
bogiesan

24p vs 30p for a documentary

Hi all. So I'm dipping my toe into the documentary film pool and I need to purchase a better camera. I have narrowed it down to the Panisonic AG-DVX100* or Panasonic AG-DVC30. The DVC30 is a hair cheaper but it doesn't have 24p. Two questions.
-How noticeable is the difference between 24p and 30p?
and
-Can FCE actually handle 24p?
I've been searching the discussion board and I'm just a little confused on the matter. I'm sure one of you with some experience could clear it up for me. I want this first film to look good but it doesn't have to be immaculate. From what I understand, FCE can't handle 24p but it can handle 30p (29.97). Am I correct? This will help me in my decision process between the two cameras. Has anyone had experience with the AG-DVC30? I've heard nothing but rave reviews of the DVX100. Thanks in advance.
MacBook Pro 1.83 ghz 2gb Mac OS X (10.4.10)

Last weekend I rented a Panasonic AG-DVX100B. I chose the F5 preset for 24p (not advanced), cine-like, etc.
When I imported it into FCE 3.5 I got 30-interlaced.
I tried re-importing into a fresh, new project in FCE but FCE still shows the imported videos as 30-interlaced. I've double-checked the camera settings and it's definitely recording 24p.
Any idea what might have gone wrong?
TIA,
--Richard
G4/867 Tower Mac OS X (10.4.10)

Help With Date driven report

I am trying to generate a list of the programs on all channels for a specific day showing the channel number, supplier, package, program name, rating code, and show time. This will be similar to a program guide, only not package specific. This is a date-driven report, therefore it should only display programs for a single date specified.
[code/]SELECT DISTINCT
S.PROGTIME AS "SHOWTIME",
S.PROGNAME AS "PROGRAM TITLE",
C.CHNUM AS "CHANNEL #",
SU.SUPNAME AS "SUPPLIER",
R.RATINGDESCRIPT AS "RATING"
FROM SCHEDULE S
CROSS JOIN CHANNELS C
CROSS JOIN SUPPLIERS SU
INNER JOIN PROGRAM P ON P.PROGNAME = S.PROGNAME
INNER JOIN CHANNEL_PACKAGE CP ON CP.CHID = S.CHID
INNER JOIN RATING R ON R.RATINGID = P.RATINGID
WHERE S.PROGTIME='18-DEC-10'
ORDER BY C.CHNUM
Which gives me an undesired resulT containg rows that put names of all channels with each channel number and ends up outputting 3016 rows which there should be only 29.
I don't know how to add my script file here since there is no option for an attachment.

Ok here is my syntax I have been working on
SELECT DISTINCT
S.PROGTIME AS "SHOWTIME",
S.PROGNAME AS "PROGRAM TITLE",
C.CHNUM AS "CHANNEL #",
SU.SUPNAME AS "SUPPLIER",
R.RATINGCODE AS "RATING"
FROM SCHEDULE S
CROSS JOIN CHANNELS C
CROSS JOIN SUPPLIERS SU
INNER JOIN PROGRAM P ON P.PROGNAME = S.PROGNAME
INNER JOIN CHANNEL_PACKAGE CP ON CP.CHID = S.CHID
INNER JOIN RATING R ON R.RATINGID = P.RATINGID
WHERE C.CHID=S.CHID
ORDER BY C.CHNUM;
Here are the tables and data
CREATE TABLE CHANNEL_TYPES(
CHANTYPEID CHAR(10) NOT NULL,
CHANTYPEDESC VARCHAR2(15) NOT NULL,
PRIMARY KEY(CHANTYPEID));
CREATE TABLE SUPPLIERS(
SUPID NUMBER(4) NOT NULL,
SUPNAME CHAR(4) NOT NULL,
SUPSTADD VARCHAR2(30) NOT NULL,
SUPCITY VARCHAR2(30),
SUPSTATE CHAR(2),
SUPZIP NUMBER(9),
CONTNAME VARCHAR2(30) NOT NULL,
CONTPHNUM VARCHAR2(15),
CONTEMAIL CHAR(50),
PRIMARY KEY(SUPID));
CREATE TABLE RATING(
RATINGID NUMBER(4),
RATINGDESCRIPT VARCHAR(30),
RATINGCODE VARCHAR(10),
PRIMARY KEY(RATINGID));
CREATE TABLE PACKAGE(
PKGID NUMBER(6) NOT NULL,
PKGDESC VARCHAR2(40) NOT NULL,
PKGNAME VARCHAR2(15),
PKGPRICE NUMBER (8,2),
PRIMARY KEY(PKGID));
CREATE TABLE CHANNELS(
CHID NUMBER(5) NOT NULL,
CHNUM NUMBER(3) NOT NULL,
CHNAME VARCHAR2(20) NOT NULL,
CHANTYPEID CHAR(10) NOT NULL,
PRIMARY KEY(CHID),
FOREIGN KEY(CHANTYPEID) REFERENCES CHANNEL_TYPES(CHANTYPEID));
CREATE TABLE PROGRAM(
SUPID NUMBER(4) NOT NULL,
PROGNAME VARCHAR2(20),
PROGDESC VARCHAR2(30) NOT NULL,
PROGLGTH NUMBER(4),
CHANTYPEID CHAR(10),
RATINGID NUMBER(4),
PRIMARY KEY(PROGNAME),
FOREIGN KEY(SUPID) REFERENCES SUPPLIERS(SUPID),
FOREIGN KEY(CHANTYPEID) REFERENCES CHANNEL_TYPES(CHANTYPEID),
FOREIGN KEY(RATINGID) REFERENCES RATING(RATINGID));
CREATE TABLE SCHEDULE(
SCHEDID CHAR(6) NOT NULL,
CHID NUMBER(4) NOT NULL,
PROGNAME VARCHAR(20) NOT NULL,
PROGTIME DATE NOT NULL,
PRIMARY KEY(SCHEDID),
FOREIGN KEY(PROGNAME) REFERENCES PROGRAM(PROGNAME));
CREATE TABLE CHANNEL_PACKAGE(
CHID NUMBER(5) NOT NULL,
PKGID NUMBER(6) NOT NULL,
FOREIGN KEY(CHID) REFERENCES CHANNELS(CHID),
FOREIGN KEY(PKGID) REFERENCES PACKAGE(PKGID));
--INSERT STATEMENTS
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES ( 4578, 'NBC', '10880 WILSHIRE BLVD #1200', 'LOS ANGELES','CA','90213','JEFF KING','310-369-5231','[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES ( 5267, 'ABC', '26547 STARS BLVD #5699', 'LOS ANGELES','CA', '90212', 'JACK CAVERISI', '310-840-9966', '[email protected]');
INSERT INTO SUPPLIERS
(SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES ( 7137, 'FOX', '10960 WILSHIRE BLVD', 'LOS ANGELES','CA', '90213', 'JANIS CARMIKEL', '310-235-5233', '[email protected]');
INSERT INTO SUPPLIERS
(SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES ( 3549, 'WB', '3701 W. OAK ST', 'BURBANK', 'CA','91125', 'SIMON PHILIPS', '310-532-6588', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES ( 6389, 'STAR', '3291 GOLDEN LN.', 'BURBANK', 'CA', '91124', 'SOPHIA SLERPY', '310-677-9511', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (5729, 'CNN', '579 WALNUT ST. #7893', 'LOS ANGELES', 'CA', '90215', 'MILDRED FOLLEY', '310-729-5568', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (5376, 'CBS', '3499 SURVIVOR CR.', 'BURBANK', 'CA', '91125', 'SHANNON MYERS', '310-648-1064', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (7763, 'TBS', '95 TURNER BLVD.', 'ATLANTA', 'GA', '26478', 'ALEXIS COUPE', '443-752-7335', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (3675, 'LIFE', '9945 SAILOR LN.', 'NEW YORK', 'NY', '36984', 'KRISTIAN HART', '646-985-8998', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (2599, 'CW', '55890 TERRANCE DR', 'NEW YORK', 'NY', '36983', 'NANCY BOTWIND', '646-736-7349', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (8771, 'MTV', '7721 TIMES SQ. #98654', 'NEW YORK', 'NY', '36983', 'KID ROCK', '646-992-1257', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (7700, 'G4', '87264 GEEK LN.', 'NEW YORK', 'NY', '36983', 'OLIVIA MUNN', '646-753-7312', '[email protected]');
INSERT INTO SUPPLIERS (SupID, SupName, SupStAdd, SupCity, SupState, Supzip, ContName, ContPhNum, ContEmail)
VALUES (6666, 'FEAR', '666 ELM ST.', 'SLEEPY HOLLOW', 'NY', '36907', 'FREDDY KRUGER', '646-568-9666', '[email protected]');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES ( 0001, 'GENERAL AUDIENCE', 'G');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES ( 0002, 'PARENTAL GUIDENCE', 'PG');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES ( 0003, 'PARENTAL GUIDENCE 13', 'PG13');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES ( 0004, 'RATED', 'R');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES ( 0005, 'NO ONE 17 AND UNDER ADMITTED', 'NC17');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0006, 'MATURE', 'M');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0007, 'NUDITY', 'N');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0008, 'LANGUAGE', 'L');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0009, 'MILD VIOLENCE', 'MV');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0010, 'VIOLENCE', 'V');
INSERT INTO RATING (RatingID, RatingDescript, RatingCode)
VALUES (0011, 'SEXUAL CONTENT', 'SC');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('M', 'Movie');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('N', 'News');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('L', 'Lifestyle');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('D', 'Documentary');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('S', 'Sports');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('R', 'REALITY');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('C', 'CHILDREN');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('F', 'FAMILY');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('H', 'HORROR');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('I', 'INSTRUCTIONAL');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('MU','MUSIC');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('MYST', 'MYSTERY');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('NA', 'NATURE');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('RE', 'RELIGOUS');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('ROM', 'ROMANCE');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('SCIFI', 'SCIENCE FICTION');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('SO', 'SOAP OPERAS');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('TS', 'TALK SHOW');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('W', 'WESTERN');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('AD', 'ADULT');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('BIO', 'BIOGRAPHY');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('CART', 'CARTOONS');
INSERT INTO CHANNEL_TYPES (ChanTypeID, ChanTypeDesc)
VALUES ('SHOP', 'SHOPPING');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1001, 1, 'Movie Channel 1', 'M');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1002, 2, 'StarZ', 'M');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1003, 3, 'FOX News', 'N');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1004, 4, 'Real News', 'N');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1005, 5, 'Lyfetiem', 'L');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1006, 6, 'FIT TV', 'L');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1007, 7, 'Gumshoe', 'D');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1008, 8, 'Reality Everything', 'D');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1009, 9, 'Pure Gridiron', 'S');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES(1010, 10, 'NESN', 'S');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1011, 11, 'GAMESHOW NETWORK', 'L');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES ( 1012, 12, 'HSN', 'SHOP');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1013, 13, 'CARTOON NETWORK', 'CART');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1014, 14, 'ONE LIFE', 'BIO');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1015, 15, 'MY MUSIC', 'MU');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1016, 16, 'HEAVENLY TV', 'RE');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1017, 17, 'GUNSLINGER', 'W');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1018, 18, '24-7 TALK SHOWS', 'TS');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1019, 19, 'SOAPNET', 'SO');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1020, 20, 'WBFF20', 'MYST');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1021, 21, 'ABC FAMILY', 'F');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1022, 22, 'LOVETV', 'ROM');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1023, 23, 'SYFY', 'SCIFI');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1024, 24, 'OUTDOORS', 'NA');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1025, 25, 'DIY', 'I');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1026, 26, 'CHILLER', 'H');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1027, 27, 'REALTV', 'R');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1028, 28, 'ESPN', 'S');
INSERT INTO CHANNELS (ChID, ChNum, ChName, ChanTypeID)
VALUES (1029, 29, '5STAR', 'M');
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES(4578, 'N', 'NBC Tonight', 'News from around the world', 360, 0002);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES(7137, 'L', 'Sale of the Year', 'Game Show Lifestyle', 24, 0001);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES(3549, 'M', 'Fly Killers are Back', 'Flies attack the city once', 175, 0004);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES (5267, 'N', 'FOX ACTION NEWS', 'LOCAL NEWS', 60, 0002);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES (6389, 'M', 'MR. NICE GUY', 'MR.NICE GUY SAVES THE DAY', 120, 0003);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 3675, 'L', 'COOKING WITH FOOD', 'PREPARING A HOLIDAY FEAST', 180, 0001);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5267, 'S', 'STEELERS VS RAVENS', 'FOOTBALL', 240, 0009);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5376, 'S', 'US OPEN', 'CHAMPIONSHIP TENNIS', 360, 0002);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 7700, 'D', 'HISTORY VIDEO GAMES', 'THEN AND NOW', 120, 0003);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 7763, 'D', 'A WORLD AT WAR', 'WWII DOCUMENTARY', 120, 0010);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 6666, 'L', 'WHEEL O TERROR', 'GAMESHOW', 60, 0004);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 3675, 'SHOP', 'DEAL OF THE CENTURY', 'SHOPPING', 240, 0001);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 7763, 'C', 'SCOOBY DOO', 'SCOOBY AND GANG', 60, 0001);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 3675, 'BIO', 'MS13 GANG', 'INSIDE THE MS13 GANG', 120, 0010);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 8771, 'MU', '#1 VIDEOS', 'TODAYS HOTTEST VIDEOS', 300, 0011);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 6666, 'RE', 'SCRIPTURE READING', 'REV.DEAK READS ',120, 0002);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES (7700, 'W', 'GUNSLINGER', 'SHOOTOUT IN THE OLD WEST', 60, 0009);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5729, 'TS', 'JERRY SPRINGER', 'RELATIONSHIP BREAKUPS', 60, 0011);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 4578, 'SO', 'GENERAL HOSPITAL', 'SOAP OPERA', 120, 0006);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 7137, 'MYST', '48 HOURS', 'WHO KILLED JIMMY HOFFA', 60, 0003);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5267, 'F', 'FULL HOUSE REUNION', 'STARS FROM FULL HOUSE REUNITE', 120, 0002);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 8771, 'ROM', 'CUPIDS ARROW', 'LOVERS IN LOVE', 30, 0011);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 6666, 'SCIFI', 'WAREHOUSE 13', 'NONE AVAILIBLE', 60, 0005);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 3675, 'NA', 'DEER HUNTER EXTREME', 'HUNTING', 120, 0009);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5729, 'I', 'FIXING THE SINK', 'HOW TO FIX LEAKY SINK', 60, 0008);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES (6666, 'H', 'SAW XX', 'RELENTLESS PSYCO KILLS AGAIN', 300, 0010);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 6389, 'AD', 'VICTORA FASHION SHOW', 'MODELS', 60, 0007);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 5267, 'S', 'UFC 300', 'PRO MMA', 300, 0010);
INSERT INTO PROGRAM (SupID, ChanTypeID, ProgName, ProgDesc, ProgLgth, RatingID)
VALUES ( 6389, 'M', 'NOT HOME ALONE', 'NONE AVAILABLE', 120, 0002);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1001, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1001, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1001, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1001, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1002, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1002, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1002, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1003, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1003, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1003, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1003, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1004, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1004, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1005, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1006, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1006, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1006, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1006, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1007, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1007, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1007, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1007, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1008, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1008, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1009, 1);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1009, 2);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1009, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1009, 4);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1010, 3);
INSERT INTO CHANNEL_PACKAGE(ChID,PkgID)
VALUES (1010, 4);
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1101', 1001, 'NBC Tonight',TO_DATE('18-DEC-10 18:00', 'DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES (1102, 1002, 'Sale of the Year',TO_DATE('18-DEC-10 20:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1103', 1003, 'Fly Killers are Back',TO_DATE('18-DEC-10 20:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1104', 1004, 'FOX ACTION NEWS',TO_DATE('18-DEC-10 18:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1105', 1005, 'MR. NICE GUY',TO_DATE('18-DEC-10 11:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1106', 1006, 'COOKING WITH FOOD',TO_DATE('18-DEC-10 12:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1107', 1007, 'STEELERS VS RAVENS',TO_DATE('18-DEC-10 15:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES('1108', 1008, 'US OPEN',TO_DATE('18-DEC-10 14:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1109', 1009, 'HISTORY VIDEO GAMES',TO_DATE('18-DEC-10 13:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1110', 1010, 'A WORLD AT WAR',TO_DATE('18-DEC-10 17:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1111', 1011, 'WHEEL O TERROR',TO_DATE('18-DEC-10 17:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1112', 1012, 'DEAL OF THE CENTURY',TO_DATE('18-DEC-10 13:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1113', 1013, 'SCOOBY DOO',TO_DATE('18-DEC-10 14:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1114', 1014, 'MS13 GANG',TO_DATE('18-DEC-10 15:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1115', 1015, '#1 VIDEOS',TO_DATE('18-DEC-10 12:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1116', 1016, 'SCRIPTURE READING',TO_DATE('18-DEC-10 11:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1117', 1017, 'GUNSLINGER',TO_DATE('18-DEC-10 18:00', 'DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1118', 1018, 'JERRY SPRINGER',TO_DATE('18-DEC-10 20:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1119', 1019, 'GENERAL HOSPITAL',TO_DATE('18-DEC-10 11:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ( '1120', 1020, '48 HOURS',TO_DATE('18-DEC-10 12:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ( '1121', 1021, 'FULL HOUSE REUNION',TO_DATE('18-DEC-10 15:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1122', 1022, 'CUPIDS ARROW',TO_DATE('18-DEC-10 14:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1123', 1023, 'WAREHOUSE 13',TO_DATE('18-DEC-10 13:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1124', 1024, 'DEER HUNTER EXTREME',TO_DATE('18-DEC-10 15:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1125', 1025, 'FIXING THE SINK',TO_DATE('18-DEC-10 11:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1126', 1026, 'SAW XX',TO_DATE('18-DEC-10 12:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1127', 1027, 'VICTORA FASHION SHOW',TO_DATE('18-DEC-10 13:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1128', 1028, 'UFC 300',TO_DATE('18-DEC-10 12:00','DD-MON-YY HH24:MI'));
INSERT INTO SCHEDULE (SchedID, ChID, ProgName, ProgTime)
VALUES ('1129', 1029, 'NOT HOME ALONE',TO_DATE('18-DEC-10 11:00','DD-MON-YY HH24:MI'));

JPEG? TIFF? PNG? PCT? Best still format to use in FCP7???

I'm making a WWII documentary that will feature a lot of pans and zooms on stills. My sequence setting is DV-NTSC, 480i.
I'd like to know the best Photoshop still format I should be using. I've heard that TIFF is best but it also happens to take up a lot more memory than for example JPEG, PCT or PNG. One photo I have that is only 233KB as a jpeg, 450KB as pct and 800 as a png file is a whopping 25MB as a tiff!
So if I plan to do any zooming or panning, will tiff files slow down FCP7.
What is the best photoshop format for large stills to be panned on and zoomed into?
Thanks very much in advance,
- Nick
Message was edited by: Nicholas Natteau1
Message was edited by: Nicholas Natteau1

If I'm reading Studio X correctly, JPEG would actually be slower since FCP would need to decompress each image as it's opened in addition to whatever video processing is done. The TIFF would only need to be read in. But that impact would only be upon initial load.
One way to speed things up is to divide and conquer. The more images you have in a sequence and the more sequences you have open, the more FCP will slow down. It's not just opening the images but creating the thumbnails used in the timeline that seems to take time. It would be better to split up your final output into several sequences with a smaller number of images in each one. How you split it would depend on content. I usually also split up large projects into several sequences to speed up any rework I encounter after compression. If you find some small error in the DVD (like a misspelled name for example), it's short work to fix that one sequence and re-compress than to have to re-compress the entire project again.

Violent Shudder (Artillery Blast) simulation

Hello all
(I'm sorry for posting this twice - I think I may have put it in the wrong place)
I've received some pretty good advice here on the forum. And in regard to a WWII documentary that I'm working on,
I plan on using a few Cannon GL2's, a Panasonic AG-DVC80, and a Panasonic DVX100. They all seem to be somewhat equal in capability. (within reasonable comparison to each other)
Anyway, I've assembled 20-30 WWII impressionists for a re-creation of a battle gone wrong in North West Africa 1943. In one scene, one of the veterans tells of how Rommel's 10th Panzer caught their platoon in open ground, and laid deadly artillery fire upon them.
We cannot use explosive charges, but I can simulate shells landing nearby by their reactions, perhaps camera movement, and of course sound effects. I've tried a few settings in 'Live Type', but I can't seem to get the right effect.
Was wondering if anyone has ever tried to shake physically shake the camera? Is this a 'controlled science'?
Thank you
My Web Site:
http://ww2survivorstories.com/

"if you want to do it in post"
Thank you well I've come up with this so far;
http://moviemaker.com/magazine/editorial.php?id=521
And
http://www.toolfarm.com/
But I still need to go through all of this to come up with a good plug in .....

Keyboard shortcuts for tags not working

I'm working on a WWII documentary and using Prelude to assign lots of markers, including tags for historical figures who appear very frequently in the WWII newsreels such as "Rommel" and "Hitler"
Not sure why, but when I assign any keyboard shortcut for a custom tag, the shortcut doesn't work, please see here:
I decided to assign "3" for the Hitler tag, but any shortcut I assign for any tag, just doesn't work. Yet it seems that you can assign keyboard shortcuts even for tags, and the Prelude help manual says you can:

Hi -
In order to support keyboard shortcuts for the Tag Panel we needed to implement a bit of a unique method. The Tag Panel itself does indeed need to have focus in order for it's keyboard shortcuts to activate. The core reason for this is to remove the potential for keyboard shortcut conflicts between the rest of the app the those stored within a Tag template. Remember, you can share Tag Templates across system and with other users. and each template can contain it's own shortcut definitions. The only way to prevent conflicts is to enforce the focus rule.
the recommended workflow is to open a clip and set focus to the Tag Panel. From the Tag Panel all of the Transport Controls (JKL, SPACE BAR for play/pause, etc.) will still function when the Tag Panel has focus. So you should still be able to review your clips and apply Tags via shortcut.
Let me know how this works. We are always looking to improve workflows so if you come up with some improvement ideas please share.
Regards,
Michael

How do you embed an image inside an animated arrow in Motion?

I just designed an arrow by using the b-spline tool and selected "arrow" for my end-cap.
Is it possible to embed an image into my arrow?
I am working on a WWII documentary about North Africa and I have this map animation sequence of North Africa where I need arrows (armies) to have the British, American, Nazi flags embedded into them. I have no idea how to do this. Please any hlep would be much appreciated.
Thanks in advance,
- Nicholas

Howdy,
Adam pretty much described this, already. You want to take a flag image (or maybe a tiled grid of a bunch of little flags, whatever), then apply and image mask to it, then make the arrow shape the reference for the mask. One more time for the people in the cheap seats:
1. Apply an image mask to the flags (Object->Add Image Mask or CmdShftM).
2. Select the image mask object and view the Image Mask tab in the Inspector.
3. From the Layers List, drag-and-drop the arrow shape into the Mask Source image well.
By default, the mask is applied with Stencil enabled (also found in the Inspector), so the mask will be lined up with the position of your arrow shape object.

Final Cut Express 2 Editing Workshop - Keyframe Animation

Hello Hello
(Perhaps Tom is reading this)
Well I've spent many many hours using FCE 3.5, and I can honestly say (although I really love it), I still find that Keyframe Animation does not appear as reliable as iMovie's engine for creating good steady Pans and Zooms.
But I won't give up on it if I can just find a way to make it work consistently and accurately.
My work (for my WWII documentary), requires slow and steady pans and zooms .....
Wondering if this particular Tom Wolsky tutorial particularly specializes in working with Keyframe to create pans and zooms?
http://www.fcpbook.com/FCE2%20Editing%20Workshop.html
Most other DVD tutorials lack any concentration specifically relating to Key Framing....
Thank you
Mike

Hello Martin
I've always said that you are a gentleman.
Why do I say that?
Because unlike yourself, (although I'm getting pretty good with FCE), I don't have quite the same number of hours, nor posts, logged in here and as you and Tom Wolsky.
But I've felt for quite some time now, that unfortunately as professional as Final Cut is, 'Keyframe' just does not have the same stability nor reliability as iMovie.
And I'm honored and relieved to hear that you actually agree.
I've put many hours in on this problem. I've also tried other programs like "Photo to Movie" which will smooth out the jagged edges of a zoomed still (another issue), but will take away the crispness and clarity of a still that iMovie offers.
Yes these tips provided by Ken Stone are helpful and I thank you. 'They are really nice'
But I think, for really smooth and steady pans, and zooms I will stick to iMovie (at least for now)
Thanx again Martin
Mike

MPEG Stream Clip Export Settings

Happy New Year!
I've been working on a WWII documentary.
You guys turned me onto a really nifty piece of software which I use occasionally; MPEG Stream Clip
It's great - just wanna make sure I'm using the right export settings for re-importing a piece of film back into FCP.
I assumed it was best to export as a Quick Time File rather than a DV. Why? Because it seems the DV export puts compression on the clip. In 'Options' I also choose Apple DVCPRO-NTSC
Take a look;
http://www.locationstudio.net/Export-QT.jpg
http://www.locationstudio.net/100-Per-Cent.jpg
http://www.locationstudio.net/DV-DVCPRO-NTSC.jpg
http://www.locationstudio.net/DV.jpg
Thanx
Mike

*just wanna make sure I'm using the right export settings for re-importing a piece of film back into FCP.*
If you're working in a DV NTSC timeline then you are doing it right. the Streamclip option for dv creates a dv stream which is not the same thing as a DV NTSC Quicktime Movie.
rh

After Effects animated counter using point control counts up then down then up, why???

I'm trying to make some animated counters showing the number of victims killed in the Holocaust for WWII documentary. Most of my animated counters are working. But for some reason, the animated counter for Norway isn't.
I need for the counter to go from 0 to 890. But instead it shoots up to nearly 7,000 in the middle only to go down in order to get to 890. I have no idea what's causing this. But here are my settings:

Hi Mylenium,
Thank you very much. Correct, I set the first frame to bezier, but not sure why that would cause the numbers prior to the end to be higher than the end number. By setting the first keyframe to bezier, I was hoping to have the animation begin slowly and then increase in speed. But for some reason it's also giving me a higher number mid-way than the end number.

Cinema Tools doesn't recognize pulldown cadence on 24p DVCPRO 50

Hi everyone, I'm hoping someone can give me a couple suggestions on this...
I've been capturing 24p material for a documentary from different sources and with different pulldown cadences: DV @ 24p and 24p Advanced, and DVCPRO 50 @ 24p.
The extra frames from the two DV types get removed properly, but not from the DVCPRO 50. I take a clip into Cinema Tools and hit 'Rev Telecine..' (Automated so no options to choose from) and it gives me a 23.98 clip with the what should be the C frame interlaced. (A B C/D D)
It looks like CT is removing 2:3:3:2 'advanced' pulldown and not the normal 2:3:2:3, like it's reading the metadata in the clip wrong. Does anyone know a way to manually set the type of pulldown--either in Cinema Tools or within the metadata of the clip itself?
Thanks in advance,
Will
Dual 2.7 GHz G5, 4.5 GB RAM Mac OS X (10.4.2) FCP 5.03, Cinema Tools 3.03

I didn't know therre was an Automated way either until working on this project, and maybe it's a new setting in Cinema Tools 3. The manual says that CT will recognize the pulldown on the clip automatically when it was shot in a 24p video camera, that this information gets embedded in the clip. The dialog box it gives you for the automatic reverse telecine has no options at all, and all my clips started on an A frame for the possibility of doing all as a batch.
I may have found what happened, (although not how to fix it). My capture setting had Remove Advanced Pulldown checked, and the tapes were recorded with regular pulldown. In my experience with DV footage this has never mattered, it would remove it if it could and if not leave the clip alone.
It looks like there's a bug somewhere in the DVCPRO 50 capture process--that the clip is has the 24p Advanced markers embedded even though it is regular 24p, and so Cinema Tools treats it improperly and removes the wrong frames:
24p Advanced (2:3:3:2) A B B/C C D 29.97 Footage
24p (2:3:2:3) A B C/B C/D D
I I 0 I I (CT removing 2:3:3:2 Pulldown)
24p Advanced A B C D
24p *my result* A B C/D D 23.98 Footage
Has anyone else encountered this bug? Any work arounds known?
Thanks,
Will

Adventures in 24p, things we can all laugh about (but I need help!)

Hello everyone!
I'm walking into a disaster area, I have a friend who's shot over 100 hours of footage here for a documentary recently. She's handled all the production herself and it looks fantastic, she did a great job. The problems here is her current logger has absolutely no clue what he's doing.
The knowledge I have of the project here is limited but bear with me. First off, it looks like he's about 2/3 of the way done logging and he's been at this for nine months. Yes folks, nine months to log 66 hours of video. He's got NO bins ANYWHERE so basically there are a few thousand clips on the root of the browser window (yay!). That's not really the issue I'm coming to you guys with though. Reorganization will be a pain in the butt but I can manage if it becomes my responsibility.
My issue is that she has come to me to make a DVD for her trailer. Upon opening the project I notice that not a single deck in my post house is taking the firewire signal. Upon further inspection I noticed she captured and her timeline is in 3:2 pulldown. She said she did it on some Panasonic camera in order to be able to do 24p. Firewire output wasn't the biggest concern, I was just doing it to be thorough in monitoring, though I took note that it could mean issues later.
So my first question:
Coming from a SD DV NTSC source, shouldn't the capture preset and timeline option just be all glorious default 29.97 NTSC regardless of the shot framerate?
Final Cut seems to be playing it alright in it's viewer but... again no firewire output.
So! Trying to ignore the issues I saw coming up and moving along trying to get this trailer out for her (and upon fixing every title which was nowhere near even action safe, HELLO!), I exported the sequence as an mpeg in DSP3. As I had predicted there were massive framerate issues, stutter central.
There are many issues here which I'm trying to compel her to get a new guy for her post management and I may even have to step in myself to help besides this possible framerate issue. But, any issues on capture seem to be the biggest concern right now, especially if this all needs to be relogged.
And thus my second question:
Based on the limited information I've given you guys, does it sound like I'm going to have to re-log everything?
Believe it or not this is gonna be a big documentary picked up by a major cable television network so things need to be fixed and in a hurry so the actual editing process can begin. Any advice will be helpful! Thanks!
-Jim

Yes. But. Was it shot 24P or 24PA (I hope 24P).
When you check the clips, what frame rate do they
have in their properties? When you say her sequence
has 3:2 pulldown, do you mean the sequence is 29.97?
The FW output is likely unrelated to any frame rate
issues. FCP will insert pulldown on the fly to
display a 24fps sequence (I believe). Can FCP see the
FW decks?
Well when this job completed production, our house dubbed a backup of every DV via firewire on our old DV decks running DV SP mode. As far as I know, those decks won't play back 24PA (speaking of the Sony DSR-30, DSR-11 and an old Panasonic DV2000). So I assume it's just plain 'ol 24P.
The sequence settings said the framerate was 24 and if I try and toss the clips in a 29.97 sequence it's looking to render out. Unfortunately I don't have access to the materials now for further investigation.
For the record this is FCP 4.5 I'm working on. As for why FCP isn't sending out the firewire properly, I assumed it was cause of the sequence settings, it works normally with no problems. FCP will toss out the first frame and will play the audio but no video.. looks exactly like the problem if your canvas viewer is set to high.

NTSC 24P to HD

I just finish a new documentary that I shot in NTSC 24P (Panasonic DVX-100A) and need to trasfered to HD 1080i/60i. How is this done, are they better machines than others or is a simple computer procedure? I am right now in Buenos Aires, Argentina but could fly anywhere to do it, I have to be delivering the movie January 5th for Sundance.
Any sugestions?
Thanks in advance.
Jorge Manrique

Find a post facility that has FCP and a Kona 3 and an HDCAM or D5 deck and output there. The Kona 3 can upconvert in real time to any format.
Shane

Pal 24p? Or 25 and NTSC 24p

I am beginning to edit a documentary shot primarily in 24p with a DVX100a, and now I will be getting some footage shot in PAL. They will be shooting this week and my question is this: What might work best for conversion and look? Have them shoot standard PAL at 25fps or PAL 24p? Does the 24p mode really matter when I'll be converting to NTSC anyway? I have no experience working with PAL and am unsure what might look and work best.
Thanks for any feedback!
Christine

New Discussions ResponsesThe new system for discussions asks that after you mark your question as Answered, you take the time to mark any posts that have aided you with the tag and the post that provided your answer with the tag. This not only gives points to the posters, but points anyone searching for answers to similar problems to the proper posts.
If we use the forums properly they will work well...
Patrick

24P VS 29.97 WWII Documentary

Similar Messages

Maybe you are looking for