Edit in 24fps ?

I have a Panasonic HMC40 and am able to shoot in 24p mode. One of my goals is to create as close to a 'film look' as possible. Therefore I would also like to edit in a 24fps timeline. I understand that FCE 4 does not support this. Will Final Cut Pro support 24fps editing? If not, what are my other choices?
Thanks.
Dennis
Dennis Roliff Photography

Hi Dennis,
Final Cut Pro should work with standard 24fps footage.

Similar Messages

  • Want to edit on 24fps

    Ok. I got material that was shoot in 24p, and I want to edit in 24fps.
    What is the easiest way?

    dude!
    you're chasing your tail and making multiple posts about the same thing. did you bother to read the brilliant article by graeme nattress on kenstone.net that james so nicely posted the link to in this previous thread of yours? http://discussions.apple.com/thread.jspa?messageID=4434571&#4434571 or did that thread tell you nothing and we all wasted our efforts?
    read the article as it answers all your questions. test in small amounts. i think this will teach you that next time before you begin a project like this you need to test your workflow. test test test and get it wired tight beforehand, it's what seperates amateurs from pros. criminey.

  • Problems in editing at 24fps

    I have a problem with working in 24fps editing mode. The problem consist in a very strange and until now irreparable flicker when I export and after that play on an external monitor of an Quicktime movie at 24fps.The flicker filters doesn't have effect. So I can't export a movie at 24 fps on tape and I can edit only viewing the sequence in the viewer window (not in the external monitor). How can I solve this problem. Thank you.

    Post more about your system. Which Mac? do you have a capture card involved? 24fps DV or HDV or HD or DVCPROHD? what's the format you're working with?
    Jerry

  • Footage shot at 30fps needs to be converted/ edited into 24fps project

    Hi,
    I've already searched the postings and found a similar topic, but didn't quite solve dilemma.
    I'm an Avid person myself, but am helping someone on FCP. He shot a feature at 24, apparently some footage was shot at 30fps by mistake. Is there a way to convert the footage? I guess the system won't let him capture at 24, so he captured this footage at 30 and rendered the clips but it looks like crap. I appreciate any help or suggestions anyone is willing to offer.
    Thank you,
    mlarisa
      Mac OS X (10.3.9)  

    Well, this is a Final Cut Forum question actually, but it doesn't matter.Graeme Nattress has a standards converter that' ll do the job just fine.It should be here:
    http://www.nattress.com/standardsConversion.htm

  • Film Edit Process Q's & Reconnect Conflicts

    I am one of two assistant editors on an independent feature film, shot on 35m, transferred to BetaSp pal for edit. FTL files (from the lab) are imported,
    Batchlists and Database folders created. Our clips are then digitized from the batchlists in FCP. We edit at 24fps, video is converted through Cinema Tools and merged with the audio tracks when synced in FCP. (we are using the basic sync by clap system) Assistants have now started editing on multiple computers. We copy the editors project, all of the respected folders
    (FTL, BATCH CAPTURE, DATABASE, etc) the media and seperate sound folders to our two 250-500GB Lacie fw drives. We work seperatly, finish a sequence, then take project files back to the editor's station; copy bins/sequences into his project and reconnect to the media that sits on his drives. Video always reconnects fine. When working with sync clips and reconnecting audio, I get this window, "some attrubutes of one or more files have chosen do not match attributes of original" 99% of the time the attribute conflict is listed as, "media start and end". Sometimes additional attributes: "reel, rate" are listed. I have the option of chosing "connect" anyway, and I've done a test with
    this and even with "conflicts" sync appears fine. I want to be sure that everything happens smoothly with our audio post (sound designer working on a seperate system from our exported OMFs) and I want to be sure
    that we output a good EDL. (we will be making a film cut to scan into "Luster", a DI system, and printing to negative from there) Also, what should we just
    watch out for in this work process described? What are some pitfalls that I could be missing in copying media around, taking media off the assistant edit
    drives, etc., as we work? Also for organizational purposes, I want to rename media folders (capture folder), where the clips were digitized into on the
    editor's machine. (would like to reorganize media in general, intial organization untidy) Will this be a problem, most concern again for the EDL. Forgive me for some ignorance, first time working with film in edit. Appreciate any feedback. Thanks-
    amysands

    Hi Jim - thanks for your advice, wondering if I should I have headed your warning earlier - I expressed concerns to Steve about EDL export, turns out I ran into some problems recently when doing an EDL test. If you have some time, I'd greatly appreciate any information or help you can offer. Here is my long winded explanation of what happened. (again, I'm an assistant on an independent feature film - finally getting back to the forum after being buried for a bit)
    OUR PROCESS:
    1) Film format: 35m 3perf, (plus some Super 16mm).
    2) Transferred to BetaSp PAL and Digibeta PAL.
    3) FTL files (from telecine)copied and imported to CINEMA TOOLS, Database created. Batch Lists created.
    4) Batch Lists imported to FCP, media digitized at 25fps. Media converted through Cinema Tools to 24fps. Media then “reconnected” in FCP.
    5) Audio (at 24fps) imported and synced with video (using the basic sync by clap system). Clips are “merged” as we sync. Edit occurs in 24fps, timelines.
    6) Finishing with DI - film negatives to be scanned, film print created.
    EQUIPMENT:
    FCP 5.0
    Cinema Tools
    G5, dual processor
    Mac OS X 10.4.2
    BlackLink Card
    (assistants also working with copied media on an EMAC
    and G4 Lap Top, projects transferred back to G5 system)
    REDIGITIZING AND EDL ERRORS:
    Our offline footage was digitized at DV-PAL compression from Beta SP (PAL). We had also telecined to matching Digibeta (PAL) tapes. Recently we tried to re-digitize for a trailer capturing at 8 bit compression. We brought in a Sony Digibeta deck with SDI cable.
    Several problems occurred:
    I tried first to export an EDL from FCP. In a new project, I imported the EDL and started to re-digitize. The system immediatly searched for timecode out of the ballpark from the tape (not even the same hour).
    I was able to batch digitize from the sequence (still in a 24fps timeline). Media then had to be conformed to 24fps through Cinema Tools. In/Outs for the most part would match. However, maybe because our FTL codes were not broken into individual takes, huge source clips needed to be recaptured. For example, for a 30sec clip in the timeline, 6 minutes of footage was digitized. We had to capture large source files corresponding to our smaller edited clips. This took up more space and time then we had available.
    Even after conforming the media to 24fps, some clips did not match the in/outs of the original sequence. 15% of the clips were not even batch digitized; tape numbers or clip names ignored all together in the batch digitize que. This occurred even with selecting “digitize online” clips function.
    A seperate issue, but mastering back to digibeta was also unsuccessful. We tried rendering the sequence out at 25fps, (which took a huge amount of time) and then discovered that we could still not print to tape on the digibeta deck. It would not output at all - we got only a fuzzy green screen. We have tried both component / composite and SDI but its the same each time. We've also tried to output to a BetaSP deck - no result. In the end we exported quicktimes and outputted via firewire to DVCAM. I have since read that mastering back to Beta is commonly problematic.
    Any insights as to why the digitization is erratic? Why the EDL is not working? The EDL is the most concerning problem - will need to eventually both work with high res footage and scan our negatives for the DI and print to film. Should I create an EDL through Cinema Tools? Am I missing something in the EDL settings maybe? Trying to do some quick reading on this as well - thanks guys for all the help -
    Amy

  • Film list in Cinema Tools from 25 telecine, edited in a DV PAL-24 sequence

    Hello professionals out there in the binary world,
    I am looking for 24/25/24 answer to my problem and going thru all the questions like mine with no answer is just depressing !!!
    Here is the problem:
    We are editing on Final Cut Pro 4 with Cinematools 2.1
    16mm shot at 24 FPS with a TC at 25fps to edit at 24fps in FCP 4
    Sound recorded at 24FPS (Cantar)imported thru sebskytools...
    We edited in a sequence DV PAL-24
    (24@25 not available on FCP4)
    Sound SEEMS ok as I need everything at 24FPS (quicktime movie, omf and edl)
    For the image, I need a cut list for the negative cutter, when I want to make it in FCP4, in the settings, it doesn't allow me to change the TC rate to 25, it's greyed out, I have no choice else than 24...EVEN if I logged the database saying it was a 25fps TC.
    In the database it's ok but it's not available in the FCP film list settings.
    First weird thing..WHY ???
    When the list is done, it says at the beginning and for all the clips used in the edit: "warning, the clip x does not have a telecine speed of 24FPS".... But the keycodes seems ok (same as my timeline)
    SECOND PROBLEM:
    I also need to tape the movie on beta for that negative cutter and it should be at 25FPS, like the TC otherwise the time won't correspond...HOW ??? Is it possible ?
    Thanks for any information you could give me to clear it up a little bet !
    All that 24/25 is a little cloudy in my mind, I would be thrilled if someone could blow those clouds away !
    Marie
    Final Cut Pro 4 / Cinema Tools 2.1   Mac OS X (10.3.1)  

    Hi Marie
    Cloudy.....its a pea souper. Below is a cut and paste of some of the answers I have given in other threads. Also, I would get FCP5 studio as it is much better at all this.
    Hi
    This is the one area where avid beats FCP. 24fps Pal. I have now used FCP on a couple of PAL features and it is a bit of a pain. I also have the Apple pro support but most of this is all new to them.
    Lets start with picture. As you know, you can either make tape/dvds that are the correct running length of the film and include a repeat frame or you can make them playing 4% fast with a pitch change but smooth pictures (1 frame film = 1 frame video). Most of the time, ie. when you are editing you will use the first method and live with the repeat frame. However, for VFX work and the NEG CUT or DI you will need to make 25 frame playouts.
    The avid does this well but FCP is a pain.
    One work around for the fast output is to export a QT of the cut and use cinema tools to conform it to 25fps. Some neg cutters or Digital labs will work to a QT, if they don't, then the 25fps QT can be imported into a new 25fps pal project so you can make a tape for the neg cutter which has the correct time code and you will have machine control. (Hint, I burn in 25fps TC when I make the QT). The edl will depend on your choice of film key number cut lists or a video edl. Key code lists work well but most neg cutters/labs dont like them. If you need an EDL then it should be made in the main 24@25 project but you need to set the edit code to 25fps before you make the edl. This is changed in the browser by going to TC RATE where it is set to 24@25 speed and right clicking. this gives you the option of changing the edit to 25 or 24 as well as 24@25. Most of the time while I cut, I have the edit set to 24fps not 24@25. Then I can see how long the show is running, how long a clip is etc.
    Sound. Most people in the UK get rushes synched at the lab/tk house. They speed up the sound to match the speeded up picture. That blows the idea of an omf unless you are ok with the sound going through an analogue transfer which includes a speed change. If not, you will have to reconform from the original dats.
    You must get flex files which will track the original location dat tapes and their time codes. These are used to in Cinema tools to make the batch capture list. When you want to make an edl at the end you will use EXPORT...CINEMA TOOLS AUDIO EDL.
    Your audio post house may require a video tape with each reel having time code starting on the hour. That is very tricky and I tend to go back to my avid for that. You can do it by doing a crash record with the added frame and loading that back into a 25fps project. Then making tapes from there as you will now have machine control. Not pretty and quite time consuming. If they will work from QT files its easier.
    I think you may have imported the audio which I haven't done in FCP yet. I will try BWAV import one day as they work well on the avid but have been told they don't work well on FCP. If they are working well for you then the omf route should be great. Let me know how you get on with audio.
    I have managed to get through PAL features shot at 24 with FCP, but it sure is more work than on an avid, mostly for the assistant editors. However, I like cutting on FCP.
    Best

  • Imac 5K VS Macbook Pro For Editing?

    Hello, my name is Sam and I am currently editing on my mid 2009 macbook pro 17" laptop. I have a 2.8 GHz Intel Core 2 Duo Processor and I upgraded my ram to 8GB. I have been using this laptop for editing videos since I got it in 2009.
    Up until now I have been shooting on DSLR and recording and editing in H.264 using Premier Pro CS6. Now I am starting to shoot higher quality videos in RAW and editing in prores 422. I just shot a music video using a Canon 5D Mark 3 with magic lantern shooting RAW and now that I am in the editing stage I find my computer is very slow. I can easily scrub through the footage in the timeline or when I want to preview it but when I want to use magic bullet looks, denoiser or anything of the sort, it takes 30 seconds to render one frame of footage. This video will be about 6 minutes long so 8,640 frames given that I am editing at 24fps. So if I use my computer it will take roughly 259,200 seconds (4,320 minutes) to render which is equivalent to exactly 72 hours or 3 days.
    So I think it is time to update my system but after comparing the new iMac 5K to the 15" macbook pro with similar specs, it looks like the macbook pro is a better machine and is $630 cheaper.
    Below is a photo of the two computers and the specs I would upgrade (Also the specs were chosen to make them as similar as possible). The only real difference in the hardware are the graphic cards as the iMac has the option to upgrade to the AMD Radeon R9 M295X 4GB GDDR5 instead of the 2GB which only added $250 to the system. So the Macbook Pro is still $380 cheaper. 
    So basically, I don't know which computer would be better a better choice for edit video on in Premiere Pro. Besides the obvious fact that the iMac has a 27" 5K monitor, what system will perform better for what I am doing? And mobility is not an issue so it doesn't matter if I can travel with it or not. I just want the computer that can handle the job.
    Thank you,
    Sam

    thebigother wrote:
    Thanks. At this point, portability isn't that important which is why I'm thinking of the upgrade. How do you figure that the iMac is better. The specs on my MBP are still superior with the i7 at 2.5GHz vs the iMacs i5 at 3.5GHz.... hm.. isn't the i7 faster than the i5?
    Not in this case.  The iMac has a "Haswell' CPU whereas the MBP has a 'Sandy Bridge' CPU, two different generations of processors.  To graphically illustrate the performance differences between the two options look at the respective machines in this link:
    https://browser.primatelabs.com/mac-benchmarks
    Note that the iMac registers a score of 3893 vs the MBP score of 2700.  In real world terms, differences of a couple of hundred points often is inconsequential, but here we are dealing with a very significant difference of over a thousand points.
    If portability is not a requirement and the bank account is fat, the iMac is by far the better choice.  A larger and better display combined with much superior CPU and GPU.
    Ciao.

  • Shooting and editing at 24P, not 23.98

    I am based in Beijing, where video is PAL. I’m working on pre-production on a feature film to be shot on a Varicam and edited in Final Cut Pro. We want to base editing around a future film print, and would rather shoot and edit at true 24p and not 23.98. We do not want to do an offline edit. I have one small question and one big question:
    1. Is 23.98 merely to facilitate an easy NTSC workflow? I understand there are also sound-sync issues involved (?). We will be recording onto tape and DAT simultaneously.
    2. I’m trying to create a “true” 24p FCP setup, so there will be no 23.98 element. I’ve installed the DVCproHD Components 1.1 and Frame Rate Converter for Final Cut Pro. Below, I’ll refer to true 24p (not 23.98) as “24.0”.
    I’ve read this both can be done and cannot be done, and our team has discovered a maze of detailed pieces of disinformation regarding DVCPRO HD and 24p. Most articles and posts say FCP cannot do 24.0, but the Frame Rate Converter documentation seems to suggest this is possible.
    I have created a 24.0 Easy Setup with:
    - Sequence Preset with a 24.0 editing timebase; timecode rate “same as editing timebase”; Quicktime compression type 720p60 with 24.0 fps.
    - Capture Preset with 720p24, and capturing at 23.98. (This appears to be unchangeable, and the compressor settings are locked at 59.94 fps. So it appears while the Varicam can shoot 24.0 progressive [with duplicate frames], FCP can only capture 23.98.)
    - Device Control Presets with DVCPRO HD firewire preset I modified to a frame rate of 24.0.
    So, I think I have all the setting set up for 24.0 EXCEPT for the compressor setting inside the capture preset, which appears to be locked at 59.94 and capturing at 23.98. So it looks like the only block to editing 24.0 DVCPRO HD is that FCP can’t capture it.
    We are for sure going to use Varicam and edit on FCP 5.0, and if there’s no way to really edit online 24.0 HD, then we’ll do 23.98.
    Thank you for any help. And as there are many conflicting posts and documentation on this issue, it would probably be most helpful for those with first-hand experience editing 24.0 in FCP to reply…
    Quad G5 Power PC, G4 Powerbook Mac OS X (10.4.7)

    Great question and the best of it all, you will have a true 24fps and 48k audio project throughout! Your settings look good.
    It actually took me some time to figure out where you even seeing the 23.98 but I did find it under sequence presets. Mmmm... Now to explain this in a short e-mail.
    1. The problem is all with NTSC. If you stay in FCP, output to HD, never look at the video on an NTSC monitor, then your project will always be 24fps and the audio will always be 48k. No worries. As a result, that 23.98fps frame rate in the Summary Sequence setting is a bit misleading and only applies to playing back 24 frame projects on NTSC equipment - laying back to tape and viewing on a NTSC TV/Monitor. (This is true for film based or HD projects - film runs at 24fps too). In FCP, Your sequence willsonly playback and edit 24fps.
    2. Why is 23.98 even there then? The answer takes 3 steps - do you have the patience to read them all, as it is quite dry.
    STEP 1: (what most people know)
    NTSC puts 29.97 frames a second on a screen. Your version of reality was recorded at 24 frames a second. If we could just bypass all the electronics built into your 24HD deck and NTSC monitor and just play your tape on a NTSC monitor, your images would look like everyone is moving about 25% faster (29.97 divided 24). Another way to look at this is that in 10 seconds, the NTSC monitor will display 299.7 frames (10 seconds times 29.97). If we played back 299.7 of your frames in 10 seconds, we would actually be looking at about 12 seconds of your recordered reality. So the important how do we keep your 24fps looking like reality rather than speeding it up? The answer is to add 5.97 frames to your image when playing back on a machine that is displaying 29.97fps (NTSC). Believe it or not, this is not that hard to do. The most basic explanation being that by duplicating some of the 24fps frames and merging others you create an extra 5.97 frames and simply insert these extra frames inside the 24 so that you now have 29.97 frames instead of 24. Done properly, your eye cannot see the difference.
    Step 2: (what confuses the people not already confused from above)
    The problem arises is what the heck is .97 of a frame? What does it look like? It doesn't. Only 1 full frames are added. This is really an accounting problem, like where do all the quarter of a pennies go in the world? (Only Richard Pryor from Superman and the guys from Office Space seem to know.) The answer is, since we are already tricking your eye by adding extra frames that never existed in the first place on film (24fps) or 24 HD, by just not adding one of these 'created' frames every 10 seconds or so (you will never miss it don't worry) when you do the accounting in the end, an odd number like .97 of a frame is created. Bottom line - 6 full frames are added per second (24 real frames+6 created frames= 30 frames - darn close to 29.97), then by not adding one frame occasionally drops the overall average to 29.97) making TV networks happy, engineers look like geniuses and the rest of us posting long dry explanations on the net.
    STEP 3 (The step almost no one understands, not even completely by me)
    Ok, if you gotten this far and have an understanding congrats! So although the entire explanation above was a mathematical one, it was all really about our experience of ‘seeing.’ Everybody sees reality occur at the same pace (yes sport superstars seem to see things slower than others) but as humans we basically all see reality at about the same pace. The explanation above dealt with a technical issue that when reality is recorded at one speed and played back at another, how do we balance those technical things out so that people viewing the material see it as it was meant. Ok, here is the kicker - what about sound? Mmm, didn't think about that did you? I mean CD's have a frame rate of 44,000 samples a second called 44k. HD, DVcam, DAT all have 48k or 48000 samples a second – think of it like frames a second). So what do you do when all your material is in sync in your FCP (or Avid) playing back nicely at 24fps and you want to make an NTSC tape or watch it on a big TV monitor? Well if you are lazy like me, you would just duplicate 25% of the sound just like the picture (30 divided by 24) and just add it in at the same time you add in those extra 6 frames!! Perfect. But of course you cannot. Well actually you can, but it would sound bad, clicking and hiccupping. Your experience of the sound would be odd. So the engineers had to come up with another way to deal with sound. The slowed it down!! That’s right, since you can't add extra sound like picture, when converting 24 frames to 30 frames, they slowed the sound down. I am not an expert in this field so I dare not explain it as I am sure to create some inaccuracies, but that is what they do. So when you are listening to an Avid or FCP through an NTSC monitor or outputting to tape, the audio is being played back a little slower (47.97 in a 48k project) then how it was originally recorded! Again, engineers are tricking you – your ear this time. This minute slow down of the audio is not perceivable to most people.
    ENOUGH!! SO WHAT ABOUT 23.98?
    Ok ready? Digital Audio is the issue here. Digital Audio, DAT, DVcam, HD, DA88, is mostly recorded at 48k. CD's are 44K, but most other formats are 48k. The 24fps conversion to 29.997 conversion causes a major headache for audio folks. Without more boring details, when converting video from 24fps to 29.97fps, all the people have to re-adjust all of their audio from 48 to 49.97 to keep in sync. As a result they spend a lot of time converting their audio and more importantly to them, they lose the pure digital clarity. Also handing sound files back and forth between picture editors and sound editors and music editors has never been convenient because of this issue. At some point a sound file is imported or exported incorrectly and the sound has to be put through a digital process to get it to be in sync again. So how do you solve this constant tedious conversation about whether the Audio is at 48k or 49.97? Well the problem becomes an accounting one once again. The issue really is how the video editing machines account for time code. For the longest time, these machines were built with the idea "We do 24fps everybody resample around us." Remember, this technology was invented only 15 years ago when disk drives were small, machines were slow, and moving pictures were severely compressed to just to get them onto the hard drives. Keeping everything in sync was a major hardware task back then, and sales of machines that could edit 24 frames were dominated by film companies who only knew about 24 frames a second. Now, not so much. So to keep the audio at 48k and not need any conversions, the video editing machine would have to account for the conversion between 24fps and 29.97 NTSC time code slightly differently. The answer is to play back 24fps back at 23.98 to NTSC devices and as result the audio would stay pure and original at 48K!! However, your cackles would arise and of course would cause the question in everyone’s mind which was your first question “are we really editing at 24fps?” Which is of course why long ago nobody ever marketed a 23.98 Video Editing Software/hardware solution because all day long they would have to answer this question over and over. Better just make the machine do everything at 24fps (even the accounting) and let the audio grunts have to deal with it.
    So the answer is yes, you will be editing in 24fps. Audio will remain at a pure and original 48k. And if you have to output to NTSC for any reason (and yes I promise you one will come up) the machine will play the picture back at 23.98 so that it looks great and the audio will come out at a pure 48k.
    Good luck
    Doug

  • How to export a 24fps project

    I'm exporting a 24fps timeline sequence, in FCP 4.5, do I have to convert this in cinema tools to 23.98 or 29.97 before I can export a quicktime or put to tape?
    Also if the timeline is anamorphic how do I keep an anamorphic setting in a quicktime movie format?
    Thanks

    I edit in 24FPS DV-50 all the time. I mostly use the Desktop Cinema on a color corrected LCD for editing. When I need to see the footage on a consumer tube TV, I use a DV camcorder via Firewire as the playback device.
    Final Cut Pro (or perhaps my camcorder) adds the Pulldown to 29.97FPS on the fly automatically. This means I rarely need to convert the footage at all. With my camcorder, JVC GR-HD1, the DV-50 signal is also instantly down-converted to DV-25 on the fly for the camcorder. That way, I can keep source footage in DV-50 in case I need to do advanced color correction, but still use consumer video devices for playback and mastering.
    I even leave the footage as 24FPS when creating MPEG2's for DVD since all DVD Players can add pulldown on the fly and you get a much higher quality image when the footage is paused in 24FPS.
    There are a few times when using a sequence in 29.97FPS is slightly better. When you do a lot of dissolves, consider doing them in a 29.97FPS sequence since 24FPS footage will look alot more strobic since in 29.97FPS the sequence is actually field rendering dissolves at 60 fields per second. That's nearly 3x as smooth as a 24FPS dissolve. The difference is quite noticable.
    To convert a 24FPS sequence to 29.97FPS, just export the 24FPS as a self-contained movie, import it, then place it into a 29.97fps sequence. You may need to render. I would not recommend exporting directly to a different frame rate because it can cause strange cadence errors and white flashes at cuts which I don't have time to explain here.

  • How do I match a clip to sequence settings and sequence presets?

    I'm getting the warning: Attention - This clip does not match this sequence's settings or any or our sequence presets.
    I'm trying to figure out how to set things up in Compressor so that my clips do match my sequence settings and presets. The issue seems to be with the audio not matching.
    Here are the sequence settings:
    Audio-2 Outputs
    Frame Size- 1920x1080
    Vid Rate-24fps
    Compressor-Apple ProRes 422 (proxy)
    Aud Rate 48.0 KHz
    Aud Format 32-bit floating Point
    I shot all the footage with a Canon 5D Mark II. I'm using Compressor to convert all my original clips. The only thing I don't seem to be able to match is the Audio. I can't find any way in Compressor to encode clips that have "two outputs" in the Audio column.
    The dialogue box for "Sound Settings" in Compressor doesn't offer any sort of options, that I can find anyway, to generate clips with "two outputs."

    These are the Compressor settings:
    Description: Apple ProRes 422 10-bit video with audio pass-through. Settings based off the source resolution and frame-rate.
    File Extension: mov
    Estimated size: 16.36 GB/hour of source
    Audio Encoder
    Apple Lossless, Stereo (L R), 48.000 kHz
    Video Encoder
    Format: QT
    Width: (100% of source)
    Height: (100% of source)
    Selected: 1920 x 1080
    Pixel aspect ratio: Square
    Crop: None
    Padding: None
    Frame rate: (100% of source)
    Selected: 24
    Frame Controls: Automatically selected: Off
    Codec Type: Apple ProRes 422 (Proxy)
    Multi-pass: Off, frame reorder: Off
    Automatic gamma correction
    Progressive
    Pixel depth: 24
    Spatial quality: 50
    Min. Spatial quality: 0
    Temporal quality: 0
    Min. temporal quality: 0
    These are the sequence settings:
    Frame Size: 1920 x 1080
    Editing Timebase: 24fps
    Field Dominance: None
    Pixel Aspect Ration: Square
    Anamorphic 16:9: Off
    Video Processing YUV allowed (8-bit)
    Compressor: Apple ProRes 422 (Proxy)
    Millions of Colors (24 bit)
    No Data Rate Limit
    No Keyframes Set
    Quality: 100
    Audio Settings:
    16-bit 48.000 kHz Stereo
    I made screen shots, but don't see how to paste them into this post.

  • Why use interlaced ?

    We shoot with DVCpro50 at 24p.
    A few questions.
    1. Is there anytime that there is an advantage, or a time when you have to use field dominance ?
    Interlaced footage looks like crap. Stills look horrible in an interlaced timeline - why ever use it ?
    It seems I can just switch the field dominance from "lower/even" to "none" and everything looks 10 times better on computer and NTSC monitor.
    2. Is there anytime that there is a disadvantage to removing the pulldown and editing in 24fps. It looks 10 times better without the screwd up "B/C & C/D" frames if you leave it in and edit at 29.97fps.
    3. is there any advantage or quality enhancement by removing the pulldown in "Shake" rather than letting FCP do it while capturing. And after removing, should your sequence timeline be set to 24fps or 23.98fps and why ?
    4. Have G5, OSX 10.4.8, AJA IO hooked up to NTSC monitor, and can't view 24fps timeline on external NTSC monitor - only frames when parked - is that because these monitors will only accept 29.97 field dominated footage ?

    Fist off - thanks for the help on part 4.
    I know how TV works and why NTSC was invented over a half century ago.
    Now that I can monitor on the external I will always edit in 24. I'm only the editor - they shoot with a SPX900 in 24p - if you don't remove the pulldown, frames 3 & 4 out of the 5 frame cycle combined with the interlacing gives really bad results. So out of curiosity I switched the sequence dominance setting from "lower/even" to "none" - at this point is ii still treated as interlaced or if it is set to "none" is it now progressive, like when you are editing in 24 and the field dominance window is greyed out. I would think that this would look jittery on a TV because the field order isn't right - but it doesn't - I can make DVD, VHS(not sure why), and monitor and the only difference is that the stills look incredibly better - there's no banding and stair stepping on the shoulders- on either the computer monitor or the NTSC monitor. And with it set to "lower/even" the bigger the computer or TV screen the worse it looks - but with it set to "none" the stills just get softer as you view them on bigger screens as if the right amount of gaussian blur was being added automatically - Isn't that wht you want ?
    So that was why I ask "why use interlace" if you have a choice?
    I'm not trying to be cool - these are ligitimate questions. I consider this doing my homework - isn't that what forums are for - I help people with answers all of the time.
    As for part 3 - Does "standard pulldown" refer to going back & forth between 24fps (film) and 29.97 (video) and "advanced pulldown" from 23.98 to 29.97 ?
    Are all of these modern video cameras actually shooting at 23.98 ?
    2 G5s 1.8Ghz single & 2.7Ghz Dual (PPC)   Mac OS X (10.4.8)   FCP Studio 5.0.4, Shake 4.1, AJA IO, 1.5G RAM & 3G RAM
    2 G5s 1.8Ghz single & 2.7Ghz Dual (PPC)   Mac OS X (10.4.8)   FCP Studio 5.0.4, Shake 4.1, AJA IO, 1.5G RAM & 3G RAM

  • Apple ProRes Timeline playback problem - Please Help

    I am capturing 720p 60 video from a Panasonic Varicam using a Blackmagic HD Extreme card and using the Apple ProsRes (HQ) setting (Blackmagic HDTV 720p 59.94). We are editing the film in Apple ProRes 422 (HQ) 24fps. In my timeline all the clips are marked for render preview (green). When I play back sequences, some scenes seem to be stuttering or playing back two duplicate frames. Some scenes play fine. I've rendered the sequences and it corrects the problem with some scenes and causes the problem in others. There seems to be no consistency to what is happening. I would deeply appreciate any input on this problem.
    Thanks.

    The clips and the sequence don't match. We are capturing 60fps from the Varicam, but need to edit in 24fps for a film release. I don't mind rendering the sequences, but it sometimes fixes the problem and sometimes causes the problem. Thanks for the thought though.

  • 24 fps

    A slew of recent DSLR releases from Nikon and Pentax all shoot 24fps for HD recording. Why?
    Well, apparently consumers complained that faster (30fps) speeds needed far more time and processing power to edit, and looked artificial. 24fps also helps to sync the shutter speed for low light shooting where these cams handily beat the $1,000 digital videocams.
    So 24fps is emerging as a dominant standard for low light, consumer video, in multi-function cameras. These cameras outsell dedicated videocams by about 25:1.
    The Canon S95 also shoots 24 fps. Nikon D3100. Pentax K-r. Fuji 300EXR. The Canon is even in H.264!
    And so on...
    That is a pretty hefty chunk of new unit sales coming down the pipe from major manufacturers. There's not even an option for 30fps unless you go Sony, Panasonic, or Olympus. Four big names are 24fps dominant now.
    So, how do we consumers edit our 24fps movies on our Macs?

    Meg The Dog wrote:
    Hi -
    Final Cut Pro supports 24 fps (23.98 fps).
    Aristophanes wrote:
    A slew of recent DSLR releases from Nikon and Pentax all shoot 24fps for HD recording. Why?
    Well, apparently consumers complained that faster (30fps) speeds needed far more time and >processing power to edit, and looked artificial.
    This is incorrect. You need more CPU horsepower to edit the DSLR footage as it is usually recorded in H.264 codec, which is an excellent recording and delivery format, but an absolute nightmare to attempt to edit. This is because it is so heavily compressed in Long GOP MPEG, which does not allow for editing without tremendous CPU power. To edit this footage, even in Final Cut Pro, you must first convert the footage to an edit friendly codec such as Apple ProRes. The "un-compression" of H.264 files (the "unpacking of the video", so to speak) results in converted file sizes that normally run between 8 to 12 times the size of the compressed H.264 file.
    So if you shoot a 1 gig H.264 file, you will need to convert it to a file that will occupy 8 gigs on you hard disk.
    As to looking artificial, does Monday Night Football look artificial on an HD screen? If anything, the 24fps frame rate actually looks less accurate - less like real life - but it is what we all grew up with seeing movies projected in the theater, so that look is associated as "cinematic". It is interesting to note that while in the US, primetime shows are shot with HD equipment at 24fps to get that cinematic look, in Japan, they prefer their primetime dramas to be shot in HD 1080i60.
    It's a matter of personal preference as to which one is best . . . and if your content is worth seeing, what does it matter what the delivery format is?
    24fps also helps to sync the shutter speed for low light shooting where these cams handily beat the $1,000 digital videocams.
    Yes the low light sensitivity, the larger image sensor allows for use of lenses that obtain the more cinematic limited depth of field. That is why many indy type productions are shot with the Canon 5D.
    There is also an explosion in quality support equipment for these DSLRs to be used as video cameras.
    So 24fps is emerging as a dominant standard for low light, consumer video, in multi-function cameras. These cameras outsell dedicated videocams by about 25:1.
    Well . . . that is an interesting statistic. I would say, based on a stroll by the camera counter at Costco, that cameras like the Kodak Zi8 or Flip Mino are probably becoming the dominant camcorder sold, but that is just anecdotal on my part. The Kodak Zi8 does not shoot 24 fps, but does shoot a very good looking 720p60 while selling for way south of $200.
    The Canon S95 also shoots 24 fps. Nikon D3100. Pentax K-r. Fuji 300EXR. The Canon is even in H.264!
    And so on...
    That is a pretty hefty chunk of new unit sales coming down the pipe from major manufacturers. There's not even an option for 30fps unless you go Sony, Panasonic, or Olympus. Four big names are 24fps dominant now.
    So, how do we consumers edit our 24fps movies on our Macs?
    As I said, Final Cut Pro supports 24 fps (23.98 fps). But once you edit it at 24fps what are you going to do with it? Other than showing it on your computer, or on the web where it will get compressed even further when uploaded to YouTube or Vimeo, and smoothness playback will be limited to the bandwidth your audience has, how will you watch it? If you burn a DVD, it will be converted to SD as DVDs are SD by definition.
    Most HD sets now sold are 1080P60, and will likely support a native 24 fps rate, but you will need to go to Blu Ray for that. If you want to burn a blu-ray disc at a native frame rate of 24 fps, you will need to buy a Blu-Ray Burner and encoding software.
    Your 24 fps Blu-Ray will play in a supporting set top player at 24 FPS, but be aware +that as of this point,+ not all set top Blu-Ray disc player support "home made" Blu - Ray discs.
    There are other deliver options like the Western Digital Media Players -
    http://www.wdc.com/en/products/index.asp?cat=30
    but I do not know if they support 24 fps. or not.
    The successful use of 24fps as a recording standard, at this point in time, requires a great deal of planning and an adherence to a very strict workflow- from capture to delivery.
    MtD
    First, having a $240 camera require editing with a $999 FFCP is just apologetic nonsense.
    Second, most use H.264 MPEG-4 which is a far sight better than the AVCHD of Sony and Panasonic. These are the 2 emerging standards. There are no "easy" formats. What I am talking about is the fact that iMovie 9 is not keeping up with the standards.
    The simple reason for a switch to 24fps is entirely due to the dramatic increase in DSLR's as video tools at he market expense of dedicated videocams.
    Third, I've done video with the 5D. The issue for editing is that iMovie won't deal with it properly. The option to buy up to FCP is silly nonsense—we're talking about the most popular lines of cameras announced for Photokina 2010. iMovie needs to be able to handle 24fps and then do with it whatever. Many will gladly trade off the 24fps for low-light shutter speed compatibility. Low light HD video is far superior with a 24fps Nikon D5000 than it is with an HG10.
    Fourth, Kodak and Flip sell in the millions. The 24fps cameras from Canon, Nikon, Fuji, and Pentax will sell in the tens of millions. So Apple needs to get iMovie into a 24fps to match their consumer software with what Joe Consumer is buying. What matters is that iMovie stubbornly does not do 24fps, but the cameras importing into it do.

  • Synch problem_canon D5 mark II rush

    Hi,
    DOP changed the camera settings after the first three shots of the first day of the shoot from 25fps to 23.98 fps and it was only discovered when the rush came to the editor, thats yours truly. The sound was recorded separately and I have no idea at what frame rate the sound recordist time-coded it.
    The rush was ingested through EOS Movie plugin E1 (H264 to Apple Pro Res) at 23.98fps and I tried to synch it by using pluraleyes. The synch stays in place for initial few seconds and then starts deviating.
    After reading various forum posts for last two weeks, I have tried the following with no effective results :
    1. Conformed the video from 23.98 fps to 24 fps by using Cinema Tools. Created Sequence Preset 1080p with editing timebase :24fps. Imported the audio clip after creating the new sequence preset and then modified the timecode of the audio clip (Modify-Timecode- Deselect Source- Select Current) and then put it in the new sequence timeline.
    2. Repeated the same for 25fps creating the Sequence Preset accordingly.
    The clips still continue to go out of synch after few intial seconds.
    My questions :
    1. Where am I going wrong? How can I put into synch?
    2. What is the best workflow for rush shot in 23.98? (This is a documentary which will only have digital 2k projections)
    I will really appreciate any suggestion to solve this.
    Best regards.

    Have you tried the "brute force" method described in this thread?
    Good luck.
    Russ

  • Premiere sends EDL with 'invalid timecode format string'

    Following the suggestions in this thread, I am attempting to send an EDL of a Premiere sequence to Speedgrade.
    When I attempt to import the EDL into Speedgrade I get this error message:
    ERROR
    In point timecode is invalid. Invalid timecode format string(hours): '23813+20'
    in edit 1
    File: 001 LR001 V C 2813+20 23815+17 0:00 1+37
    Line: 2
    I've worked very rarely with EDLs but have read the Speedgrade and Premiere guides. I must be missing something but can't tell what.  Here's the details from my project:
    I'm editing in 24fps. The video files are generated in After Effects from DPX files. The timecode is based on the DPX file names, with the hour matching the Lab Roll number (so 11:00:00 for Roll 11)
    I export an EDL in CMX3600 format. I've tried both default settings and without audio. Same results. I even get the same result if I make a sequence from a single clip and try exporting that EDL.
    I don't think this is a Speedgrade issue, because if I try re-importing the EDL into Premiere, it seems like all the clips are only one frame long.
    Any suggestions about what I might be doing incorrectly would be greatly appreciated.
    Thanks,
    Lev         

    Are you wanting to just simply go from Premiere to Speedgrade? If so why not just use the "send to speedgrade" choice. Also I wanted to point out in the original thread you actually said you didn't want to use speedgrade, I've never used a EDL with speedgrade so I have 0 ideas there, but have you tried just using Premiere's built in send to speedgrade function?

Maybe you are looking for