Interpret 60i footage as 23.976p when Exporting

I'm using the Canon 41 camcorder as my "B" camera. My project settings are set for DSLR 23.976 which is what most of my footage is. The DSLR footage is shot in native 23.976 progressive and I'm exporting the final project as 23.976 progressive. My question is when I use the footage from my "B" that is interlaced, how will Premiere export it? I would guess that Premiere would convert the 60i footage to 23.976 when it exports the final footage? Is this correct? I don't understand how my final copy could switch back and forth. I'm confused...
This from the specs list from canon
Frame Rate
60i, 24p Progressive (records at 60i), 30p Progressive (records at 60i)
You can change the camcorder's frame capture rate to 24p (recorded at 60i), which provides the appearance of the same frame rate as movie film.
Setup selection screen shot-
Export settings screen shot-

So 'conforms', effectively means that it will turn my interlaced footage into progressive? I sure don't want those blasted interlace lines to show up when a quick pan is performed. Thank you for your reply Jim. Does anyone see a problem with what I am trying to do? From what Jim states all is good

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Change in color when exporting to dvd. Please help

I have some AVCHD footage that looks great when exported to quicktime. But when burning to DVD with iDVD all colors are "stronger", especially red. (Skincolor get way too much red).
This appears both when playing back the DVD on the Mac or on a LCD screen. Have I done something wrong?

Yes, you didn't properly monitor your footage. Sorry to be so blunt.
If you want to know what your footage looks like on a TV, you need to monitor it on a TV. Your computer monitors will not get you the same colors. And since you are working with AVCHD footage that you will downconvert to a standard def DVD, you'll need something that can downconvert to SD.
Cheapest option? Decklink Intensity Pro (www.decklink.com). This requires that you have a PCIe Intel Mac Pro or Quad G5. It can downconvert the HD to SD so you can connect it to your TV and see what you will really be getting. There are other Decklink options as well that are more expensive, as well as solutions from www.aja.com and the MXO from www.matrox.com.
Shane

Re-interpreted footage metadata is lost when moving Premiere Pro CC 2014 project file to different computer

Hi guys,
I believe this is just a bug in Premiere Pro CC 2014 (and other versions in the past), but I wanted to make sure it was on the PP team's plate for the next update, since it's detrimental to a workflow that include more than one computer or more than one editor on a project.
My team shoots a lot of footage in slow-motion (for instance, 59.94 for 23.976). Premiere's process to conform this footage is great. Modify -> Interpret Footage -> Assume this frame rate: "23.976".
Unfortunately, when we move this project file to another system, even if we are using a hard-drive that is synced to have the exact same source media files with the exact same file structure, we lose the footage interpretation metadata. Premiere Pro CC thinks this footage is 59.94 again, and our sequences are in shambles. All clips where the interpretation metadata is lost have "zebra pin stripes" on them wherever they exist in our sequences.
We have to manually re-interpret the footage, and then sometimes manually re-select in and out points. This is a work-around that enables us to push forward, but it's a barrier that makes collaborative editing extremely challenging and opens up rampant possibility for error. It's hard to locate every clip we need to re-interpret in some of our more complex projects, and even harder to avoid re-interpreting the wrong clips.
Looking forward to a resolution to this problem.
Daniel Lichtenberg
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Guys I solved my own problem - thought I'd share with you how in case anyone else is having this problem -
I came across this thread
Premiere Pro CC error message and crash
which had the suggestion -
"Do tou have after effects installed? If yes, please try to import the main sequence into it and then export it as premier pro project from file/export ootion and then try to open that in premiere pro."
This didn't work for me too but I did try and import my existing project into a new project and copy all the files over. Works fine now.
I don't know if I will have the same issue again tomorrow so I'm going to render out a super high res video before I close premiere just in case

"Cloudy" Footage when Exporting ProRes 422 Timeline

Hello everyone,
I'm having a problem when exporting a "QuickTime Movie" from FCP6 with a ProRes 422 sequence. The exported footage is very "cloudy" and washed out. When I export to an .mp4 from FCP6 as a QuickTime Conversion, it's not as bad, but the contrast is still way too bright. I'm at a loss as to why this is happening. Any ideas?? Thanks in advance!!!

I too use a Canon mark II and post at cinema5D.com all the time. You might find some helpful resources there for shooting and handling the footage from that camera. I suggest this because you said the Sony HDV camera looks OK compared to the 5D footage. My 5D footage beats all my HDV cameras in highlight detail so this is suspicious.
The 5D is a challenging (and rewarding) camera but the exposure system is hard to manage. It is possible your footage was over exposed in-camera. If not, you can try running the footage through Apple Color and check the video scopes. Areas around the faces should be around 55 to 65 IRE in the Waveform monitor. Your display might need to be calibrated. This would explain the difference between the computer monitor and the TV output. It is also possible you have not updated Quicktime. There was a big update to QuickTime which fixed the way the Canon h264 files are interpreted and this fixed most issues like the ones you are describing.
Your camera also should have the latest firmware update from Canon which added manual controls in the M mode. Without this, the camera is constantly changing its exposure during the clip and will tend to blow out highlight details easily if there is a predominance of dark colors in the scene.
Also, you can try enabling highlight tone priority on the camera, which is sort of like a Black Stretch mode on some camcorders which adds a stop of highlight detail.
Regardless, the fact that it looks the same in all mediums except your computer monitor suggests the problem is a poorly calibrated monitor. I'll bet your footage is not properly exposed, but for some reason it appears to be this way on a dimly set monitor. Forgive me if I've over simplified the problem.
One last test you can do is change your compression settings to Animation and render just a few frames. Don't do too many, because the file will be huge. Animation doesn't use any color management (this is called absolute colormetrics) wherein the ProRes and h264 CODEC's are relative colormetric. If the footage still looks wrong in animation compression, you can eliminate the gamma shift/color management from your list of culprits. Hope that helps you figure this out.

Jerky Footage When exported from PPro

Hi everyone, I hope someone can PLEASE help with this.
Ive read loads online, but failed to find a solution!
Once again I turn to the Online Community for guidance and support.
Equipment: Sony NX5 on a Monopod.
Captured: Full HQ 1920*1080 P 25fps
Pc: Win 7 professional, i79477ok @ 3.50 Ghz, Graphics card: GeForce GTX-470. 12G ram.
Editing using PPro cs6. Timeline rendered, then exported (media encoder cs6) using my own present: h.264 720*576 25 fps, PAL, Progressive, Aspect: D1/DV PAL WIDESCREEN 16:9 (1.45.87) Bit rate 10, 14.
When I am zooming out, form an object, in camera its fine, once imported to PC, playing back using VLC is fine, but when exported, (using above) I see stutter on the same "zooming out". Project played on PC and to SD DVD and on both its "jerky"
What am I doing wrong, doing nuts here - Video attached below.
PS - I cant really see the "Jerky footage" on the below clip, but when I watch it on my monitor full screen you can see it then, trust me.

Yes I used a Manfrotto MN561BHDV-1 Fluid Video Monopod.
I didnt use "pull back" I was merely "zooming out" and it seems as the footage is NOT zooming out fluid, it zooming out jerky.
Do you think my export is the issue?
Im currently trying, h.346, mpeg-dvd. mpeg, avi and QT... final destination is a DVD DISK.
Any suggestions?

When exporting my HDV footage the titles get squished (pic) - Why?

Hereos a screen:
I'm using FCP 5.1.4.
Sequence Settings:
1440x1080 16:9 (I really need to make this smaller, any suggestions?)
Pixel Aspect Ratio: HD 1440x1080
Anamorphic 16:9 box is NOT checked (not sure if that's correct or not)
Editing timebase: 29.97
Field Dominance: Upper Odd
QTV Settings: HDV 1080i60
I exported using Compresor with the following custom settings:
.mov
Format: QT
Width 960
Height 540
Pixel Aspect Ratio: defualt
Crop: none
frame rate: 100% of source
codec: h.264
Multi-pass: on
If you need any other info, please tell me.
And by the way, I'm using the Canon HV20 set at 24p.

Okay, I've got more of a clue as to what's going on. While in compressor I clicked off "show as sq. pixels" and while the image was smushed horizontaly (giving off the impression that it's stretched vertically) the titles were also affected. So, when exporting with the usual settings I noticed that the video has the correct aspect ratio while the titles were still smashed horizontally as if "show as sq pixels" was unchecked.
So, there is definitely an issue with the titles being treated differently than the video. Now I just have to figure out how to get the titles to have the proper aspect ratio when exported...
2.33 MacBook Pro Mac OS X (10.4.9)

Footage pixelated when exported with compressor

I've film HD video and edited with FCP, the aspec ratio on the sequence is 720x480 anamorphic, and it looks great, when I export it with QuicK Time it looks great but DVD Studio Prp doesn't support the settings. when I export it with Compressor, DVD Studio Pro imports it fine, but it is very, very pixelated.
What would be the best option to use when exporting with Compressor.
What I want is that the WideScreen image shrinks when viewing it on a Standard TV, I've done it with iDVD but when watching it on a standard tv is cuts the two sides of the image.
Thank you for your help.

If editing HD material you would be best off editing in the HD timeline, size and Codec (not sure if you did that and then down rezzed?) SD DVDs used compressed video, so anything that compresses things more prior to the compression to an SD m2v (video used on DVDs) can lead to more of a quality hit.
Anyway what you would do is export the movie as self-contained movie, reference movie or directly to Compressor to a 16:9 m2v preset (including one you made yourself) and use that in DVD SP
Take a look [at this thread|http://discussions.apple.com/thread.jspa?messageID=11040698&#11040698] and [this thread|http://discussions.apple.com/message.jspa?messageID=11287710#11287710]
I outline the procedures a bit more and also include links to some movies and other information

Settings for 1080/60i Footage

I'm in new territory here. I've previously only worked with 720/24p (Varicam) footage and am now working with some 1080/60i footage that originated in 1080/24p. It's a long story (see PS below if interested). Bottom line is we're stuck withi 1080/60i My question is this: The footage in FCP looks fine (for interlaced) but when I send it to compressor for DVD, the footage looks like it's low resolution (like it's 1/2 the amount of lines, but doubled) compared to everything else I've ever compressed. There are jagged edges everywhere... you can count the lines on certain objects in the frame... even/especially in progressive playback mode. It looks pretty bad. I've tried so many different settings and can't find a combination that works. Anyone out there with a solution?
Rod Santiano
Provo, UT
LONG STORY: We shot our project using Sony's new XDCAM HD F350 in the 35 Mbs 23.98p mode. Well, FCP doesn't support that yet so we rented a F70 deck to record the HDSDI signal from the camera in 25 Mbs mode (which Apple now supports). Problem is: the HDSDI signal from the camera only comes in the 60i flavor. So now we have the situation mentioned above as our only workaround. Any other ideas? We're pretty late in our editing as it is due to all of this.

Hey Roderick,
i thought 720p material was only 59.94 or 60?
anyway, i am going to star with the basic questions, as in how are you exporting from FCP and how are you setting compressor?
you are down-resing your HD footage first, correct (in FCP)?
i am surprised that FCP cannot take in 23.98 @ 35 mbps, but this sounds like mpeg2 (since you are compressing from your camera).
i usually work on uncompressed 23.98fps and depending on the tape anywhere from 100 - 440 mbps and import to FCP no problem (although i still have to render it depending on how i am compositing).
anyway, let me know what and how you are setting both FCP on export and compressor to compress.
Mikey M.

60i footage to 24p

Please understand that i am a rookie.
I have read other posts but i am a little confused. I am recording some footage in 24p, but it really records it in 60i. i=interlaced so the picture is not really progressive right? I am using a Canon HF S10.
So I log and transfer and it brings it in to FCP at ( 29.97/Apple Pro Res 422/Square Pix ) in its own clip. I did not see a way to change that.
I import to the new sequence, say yes to change settings. Changes to ( 1920x1080/HDTV 1080i (16x9)/Odd Field Dominace/29.97 Edit TimeBase/Apple ProRes 422).
I export with current settings. Open with quicktime and there is interlaced video. I export with Apple Pro Res 422 (HQ) 1920x1080 24p, there are interlaced lines and in some areas looks worse.
My final plan is to record to Blu-Ray in 24p, and also export the best possible dvd.
What tricks do i need to do so that I get the 60i footage to 24p into Final Cut Pro for editing, and make sure i export that way?
Also i know that Apple Pro Res is awsome to work with, but it requires alot of space. What is the next down version that i could use that will still produce good quality DVDs.
Thank you in advance....
Chava

Hi Chava
Maybe this will help lead you in the right direction.
Using a Final Cut Pro System for 24p Offline and Online Editing
Using the same Final Cut Pro system for both offline and online editing makes the process as simple and error-free as possible. The workflow when using the same system for both purposes is outlined below.
http://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=13%2 6section=3
Adding and Removing Pull-Down in 24p Clips
http://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=13%2 6section=7
Ron

Files don't play smoothly when exporting from Final Cut Pro

Hello,
I have this strange problem that's haunting me for weeks (well months now)...
I've made some videos, shot with a HD-camera (Sony, HDV HDR-FX1E (PAL)), 1080i), and I want to export it to the apple TV.
The problem is that the videos on the appleTV dont't run smoothly, they don't really stutter, but they do have a problem, like they're missing a frame...
Now, I don't know what it is, but I tried everything.
I've tried all different settings in
- Compression, like progressive, deinterlacing, keeping the interlacing, changing it to lower field, changing the framerate to 24 fps (as I read somewhere in another post as that 25 fps would be the problem).
- MPEG Streamclip
- ffMPEG
- Visualhub
Well, I even tried it on a PC...
But all with the same result.
Then I tried it to convert the to DV (through the camera). But all with the same result.
So I thought it could be on my footage, but my originals are fine. When playing on my TV they play smoothly, even the edited ones.
When exporting the same edited files to DVD, the DVD plays fine without a hitch, but you can see a downgrade in quality...
The standard conversion settings where:
1280x720 (PAL) @ 25fps, 3 kbs (I started higher, but i downgraded), and then I tried all the above settings...
I also lowered the dimensions, but that didn't work either.
Then I dit a few tests with Handbrake and converted a (home-)DVD and, as to my surprise, I had the same problem!
BUT! The apple TV plays trailers and movies from the store without any problems...
TV is set to 1080i (Sony). But I also tried 720p, 576i, 576p, all with the same effect...
On the tv side... The files are not streamed. They are played directly from the hard disk.
Even though, streamed or directly, the problem stays the same...
I'm really desperate.
If there's anyone who could help, thanks in advance!
Kind regards,

Been trying something else in the meantime...
On a Plextor MediaX, the files play fine and perfect, either in MPEG2 HD (ts), or Xvid HD (avi), on the same TV as the appleTV.
I've encoded them through Xilisofts video-converter (PC) and ffmpeg (Mac).
But still no luck with appleTV and the h264 encodings... The stuttering there remains
Could anyone give me the right settings for PAL and HD? Can I use 25fps?
(Well, the usual settings in Compressor doesn't seem to work, so if anybody has some more advise?)
Or could there be something wrong with my appleTV?
My rentals play fine? I don't understand it...
Well, thanks for your time,
Regards,

Color space when exporting from RAW

Hello,
I am a new user of Lightroom and I find color spaces topic a bit confusing so far. My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile? Because there is no way to choose. I tried to export a photo with 3 different color spaces (sRGB, AdobeRGB and ICC profile from laboratory where I print my photos). After exporting them to JPEG it turned out that all of them look differently on my monitor - does it mean that Lightroom assigns a profile? If it was converting, shouldn't they have the same colours? What is more, after printing them in laboratory, results were completely different than I expected - the photo which had closest colours to what I saw in Lightroom was that in sRGB, but that with ICC of Lab was very different (much colder colours).
Where is the problem, or what aspect do I seem to misunderstand? Do I have wrong settings, should I use DNG to work with photos, should I export to TIFF, or I just have too weak monitor or wrongly calibrated one? Should I calibrate when viewing a picture in Lightroom or with the use of a photo exported to the ICC profile of Lab?
I would like to have a little bit of control over what I'm working on, depending on whether I want to publish it on a website or print. I know that my monitor can be a problem (I have an iiyama with IPS), but surely there has to be any way to make results of my work a bit closer to my expectations.
Just for information, my workflow doesn't require Photoshop, as I rather prefer to use only tools from Lightroom. I hope that my problem doesn't require the use of Photoshop.
I will be really greateful for your help - the general knowledge about colour spaces seems to be unsufficient when it comes to the usage of applications such as Lightroom.
Many thanks,
Marcin

Marcin S wrote:
Thank you for you helpful replies. Now I know a little bit more about it. But still, this is not completely clear to me.
My main question is: when exporting a photo, does Lightroom convert to a profile or assign a profile?
Both.
What you mean by both? How should I interpret it? I cannot choose "convert" or "assign", so how they both work together? What does it mean for me wanting to process photo and print in Lab?
I can only add, that those 3 photos which I exported to JPEG with 3 different colour spaces, they look different when viewing outside of Lightroom, ie. IrfanView. But when importing those JPEGs into Lightroom, differences are extremly slight. Is that because Lightroom operates in ProPhoto, which covers all colour spaces which I used, and other programs work in sRGB and those photos differently?
And the last question for now: will the hardware calibrator help in monitor which is, let's say, medium cost and medium quality? I mainly use it for preparing photos to put them on the website gallery, but would be nice if I could print better ones with a bit of certainty about what I will get from Lab.
Many thanks!!
Marcin
When you export a photo from LR, it converts to the colour space you select (e.g. sRGB) and embeds the appropriate profile in the exported file.
If your monitor were calibrated and profiled, and you view with a colour-managed viewer then images should look pretty much identical no matter which colour space you export in. (W7 Photo viewer is colour managed, the XP equivalent isn't, Mac s/w generally is. IE and Chrome aren't properly colour managed, Firefox is for all images, Safari is for images with embedded profiles. Other viewers vary.) With colour-managed viewers, the only difference should be with very highly saturated colours outside sRGB colour space (and then only if your monitor can display those colours).
LR is colour managed. If the monitor isn't calibrated/profiled then I think LR assumes the monitor has a colour space equivalent to sRGB (which is generally roughly right but won't be accurate). Internally LR uses ProPhoto RGB colour space in develop module, but uses Adobe RGB in Library, and previews are stored in Adobe RGB. However, the colour space LR uses won't explain why other viewers show things differently. It's simply that LR is colour managed (which means it converts to/from the image colour space), and I guess the other viewers you're using aren't; they just throw RGB data at the screen without converting.
Is it worth calibrating and profiling your monitor? Quite possibly. Does the colour and brightness vary with viewing angle as you move your head from side to side? If so, it may be TN technology, and perhaps not worth profiling. If it looks reasonably stable with different viewing angle then probably yes.

60i footage into 24p sequence

Hi,
I have 60i footage that I want to import into a 24p sequence. The scene was filmed in 60i specifically because I want to slow it down 50% in my premiere sequence and the 24p does not allow for good slow motion.
My concerns are how to do it, and how to (if necessary) de-interlace the 60i?
Thanks!

Hi Chava
Maybe this will help lead you in the right direction.
Using a Final Cut Pro System for 24p Offline and Online Editing
Using the same Final Cut Pro system for both offline and online editing makes the process as simple and error-free as possible. The workflow when using the same system for both purposes is outlined below.
http://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=13%2 6section=3
Adding and Removing Pull-Down in 24p Clips
http://documentation.apple.com/en/cinematools/usermanual/index.html#chapter=13%2 6section=7
Ron

Keep Red Filename when exporting to QT

I have a lot of Red Footage which I need to trim/color correct in FCP. I use log and transfer window to ingest the footage and then Export > Quick Time to 1080p.
The problem is, I have to maintain the original filename for future reference.
Is there a way to keep the original file name when exporting?
When I export, it ask me for the file name as "save as" and it puts "Sequence 1" by default in. Is there any way to override that and put the original file name in?

Yes, thank you, I know about the voodoo to get things out to Compressor. Must be a sequence in the main sequence folder in the bin to work voodoo thing.
I think my problems are systemic as now compressor will not launch. I have been having nothing but problems since I installed 10.4.10. First all my Office programs would not launch then I actually installed OS 10.4.10 several times rebuilding my system by archive and installing 10.4.8 and then using the combo installer from there. I thought I had a stable system but I guess I will have to revert to 10.4.9 or reinstall compressor or Quick Time or FCP Studio or.......ARRGGHHHH?
I though that the dialog was amusing in the extreem! It wasn't "Sequence has no media" it was:
"No Movie in File" Of course there isn't any movie in the file you didn't put the movie into a file....sheesh. Anyway I'll post again.
PITA
<br<br>
MBP C2D 15 - Dual 1.25 G4 MDD Mac OS X (10.4.10) Hair is falling out here...hee hee

Poor video Quality when exporting to DVD

I cant seem to get a clear video. I am downloading from DV from a canon and the quality is sentational.
When on the time line averything is brilliant. When rendereing everything is still ok.
When exporting to DVD it goes pear shaped. I have tried dozens of different variations with the same results.
I am in AUstralia and am using PAL.
I get motion blur and what appears to be very poor quality result after exporting.
Help... I dont have much hair left.
Premier Pro Tragic

@Harm,
"Pear-shaped" (or sometimes "fruit-shaped") is a euphemism meaning that the effort has gone awry; it was a mess.
@John,
Export to DVD is a PPro 2.0 function; in CS3 it is now Export to Encore. Is that what you meant?
First thing is to check the field orders of your source material and of your export settings. Don't invert them, and don't deinterlace interlaced footage.
Perhaps a short list of the settings you have tried (and why you chose those settings) would help us help you.
-Jeff

Pluraleyes - sequence in synch in pluraleyes (3.3) but when exported to PPcc NOT in synch!

Sequence consists of footage from 3 dslr cameras and 3 seperate sound sources. Sent to PEyes3.3 via extentions. Synched perfect when played in PEyes but when exported back to prem pro the 3 sound sources are almost in synch. The video tracks are seemingly synched but way downstream from the start of the sound sources.
Anybody had trouble like this?

I want to export it for several purposes; all you mention, in fact; to put on the web, to play on the monitor and to make a DVD. As I mentioned, when I exported as a QuickTime movie, it came out as a 4:3 and that of course, looked awful.
Using the conversions, I can scale it as I want to, but to me 16:9 does not look exactly right, either. That is why I wanted to know if there are some proportions in between the 4:3 and 16:9 which is appropriate for footage which is not filmed in true 16:9 but in this option which cheaper cameras have.
The article you linked to, did not tell anything new, alas.

Interpret 60i footage as 23.976p when Exporting

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