What's the cleanest workflow from PAL to NTSC?

Hi. I'm shooting in Iceland and editing in the States. Can anyone make a recommendation about the cleanest workflow from PAL to NTSC? I'll be shooting with an HD camera. Thanks!

What kind of HD?
There are about 6 million flavors - some really are HD, others use the term more as a marketing gimmick.
Why not just hire a camera that shoots the format and frame rate that you will be editing with? Granted, it might be difficult to find a camera compatible with US standards in Iceland, after all there are only 320 000 people living there. Plenty of rental places in the US though.
The cleanest workflow from PAL to NTSC is by using facility with a hardware converter such as those from Teranex or Snell & Wilcox. You will get a professional standards conversion engineer thrown in but the price will far outweigh what you will pay to hire a camera.
Other options, depending on what kind of quality is acceptable to you:
Compressor - You already have it. Will give you very good results but take a long time to process.
Natress Standards Conversion: $100. Will give you very good results but take a long time to process.
JES Deinterlacer: Free. Will give you decent results but take a long time to process.

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Why jpeg file exported from Aperture with 300 dpi's it opens with 72 dpi's on PS ( image size)? I've tried several combinations and all give different results. And I am confused on what is the best workflow for me.

Ok.
My workflow is
RAW > Aperture Library > export jpeg high resolution 300 dpi's > one file on PS > edit > Save us jpeg. The I realised that files from PS were being save in a smaller size from the ones exported form Aperture. That is when I went o see <image size> on PS and files were with 72.
Since ten I've trying different things
1. Aperture > export as PSD > open on PS > edit > Save us jpeg = small file (around 15 MB)
2. Aperture > export as jpeg high resolution 300 dpi's > open on PS > CHANGE dpi's to 300 on <image size> edit > Save us jpeg = big file (Huge, actually)
What am I doing wrong? Would someone give me guidance and tell me what is the best workflow, considering I edit photos to deliver to my clients and I shall give them 300 dpi's.
Thank you

This is a known Aperture issue: Problem with Aperture 3.6 preset exports. | Apple Support Communities
Benjamin

Trying to understand what are the parameter/output From debug SNMP timers

Hi All
I am trying to understand what are the parameter/output
From the debug SNMP timers
Output SNMP timers :
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5000 , 20000 ² why I have different delay time ( does it means that I have delay for SNMP request )

The debug messages you are seeing are related to High-Capacity (HC) timers, which manage updates to 64-bit (HC) snmp counters as defined in RFC2233.
The "fired" and "rearmed" messages indicate when each of these timers
updates ("fired") the HC snmp counters, and when they should fire next
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The numbers that are in the messages (i.e. 632DDE28 ) are internal references to the timer that has fired.
These messages do not indicate any delay in SNMP message processing, but normal SNMP operation of HC counters.

What are the pin connections from 7764 to stepper motor drive

what are the pin connections from UMI 7764 to stepper motor drive? I use PCI 7340 controller. Third party driver is not branded, but assembled. It has 3 inputs, one for (A,A/) one for (b,b/) one for enable, apart from ground pin.

Dear enigmata,
Here is a link to the UMI Manual that describes the signal connections:
http://www.ni.com/pdf/manuals/321941b.pdf
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What are the latest workflows in ESS/MSS?

Dear All,
I am new to ESS/MSS.
my client is indian. EHP6 and 7.3.
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4. What is the standard workflow for Travel request?
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Hi Somanna ,
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Just go to the Adobe Updates page. You'll find them all
there. There was
one update released for MX2004, making the latest version
7.0.1, which you
can find here -
http://www.adobe.com/downloads/updates/
Murray --- ICQ 71997575
Adobe Community Expert
(If you *MUST* email me, don't LAUGH when you do so!)
==================
http://www.projectseven.com/go
- DW FAQs, Tutorials & Resources
http://www.dwfaq.com - DW FAQs,
Tutorials & Resources
==================
"123polis123" <[email protected]> wrote in
message
news:fjp65j$hl1$[email protected]..
> dmwr mx 2004: What is the newest update from 7.0 ? I buy
MM-STUDIO MX 2004
> well
> i must update all sudio or sepatelly each package ? Tell
me the newest
> update
> from 7.0 for fireworks , flash prof mx 2004 and freehand
11.00 mx ?
>

My downloaded paid for video loses sound every 15 or so minutes, so I have to contstantly log out of iTunes and log back in and then it works - what's the problem (apart from what I've just said), does anybody know?

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What is the next upgrade from snow leopard 10.6

what is the next upgrade from snow leopard 10.6

maryellenfromkemah wrote:
what is the next upgrade from snow leopard 10.6
Apple has been updating OS X 10.6 with security updates, although the version is still 10.6.8 max.
OS X 10.4/10.5 need to upgrade, 10.6.8 ok still
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I want to convert a movie that I've created in iMovie from PAL to NTSC.

I've created a large movie using PAL but now want to convert it to NTSC to send to my family in Canada. It took ages to create. Is there an easy way of doing the conversion? I don't want to have to do it all again.

Hi
A. Using iMovie'08 to 11 - Will not give 100% result - as You want interlaced SD-Video = NTSC
B. Converting from PAL to NTSC - is Never 100% loss free - but You lose a bit
I use iMovie HD6 or FinalCut - as they can deliver 100% over to program that converts.
• iMovie and iDVD can convert - BUT RESULT WILL BE Very POOOOR.
My notes on How I do it
PAL to NTSC or NTSC to PAL
A. Copying commercial DVDs - No Not possibly at all - Not even legal to discuss.
B. Home made DVDs (DVDs without copy protection)
C. Movies from iMovie or FinalCut
• Save as full quality QuickTime .mov and convert this with JES_Deinterlacer (free on Internet)
NTSC ---> PAL.
• Most often not necessary - Most stand alone PAL DVD-players playback NTSC
(if TV is old in BL/W)
PAL ---> NTSC.
• If played on Mac - not necessary AT ALL
• If on NTSC DVD-player - CONVERSION IS NEEDED - nearly no Stand alone NTSC-DVD-players
playback PAL at all.
To do this You need to convert the PAL DVD to streaming.DV or full quality QuickTime .mov
• I use Roxio Toast™ to do this (There are no free converter)
• JES_Deinterlacer (free on Internet) to convert to NTSC
• Set up an NTSC project (29.97fps or 30) in iDVD and import then burn
I burn to
• Verbatim DVD-R
• Set down burn speed in iDVD to x1 or x4 recommended by many
• Secure a minimum of 25Gb free space on internal boot hard disk before burning (IMPORTANT)
PAL is 25 fps and an analog TV standard of 625 lines
NTSC is 29.97 fps and 520 lines
NTSC (29.97fps) 520 lines - about 640x480 pixels (square) 720x480 rectangular (narrow) pixels
PAL (25 fps) 625 lines - about 768x576 pixels (square) 720x576 rectangular (narrow) pixels
to use a photo 702x480 resp 576 then add 9 pixels on each side to add together as 720
If iDVD hangs on PAL or NTSC.
Bengt W wrote
Deleting iDVD pref. file - should return You into NTSC mode.
Yes iDVD can switch to PAL - BUT as You see with a rather lousy result.
a. Need to convert to PAL - most often not - Most PAL-player can playback NTSC
and on a fairly new TV in color. (old TV in Bl/W)
(Other way around - from PAL to NTSC most often a must - few NTSC-player can use PAL)
b. IF MUST - then use JES_Deinterlacer to do this conversion - so much better and free.
My list on this (or rather PAL --> NTSC - just think the other way around)
I have to send it overseas
That too can be a problem. As USA = NTSC = 29.97fps and EU = PAL = 25fps.
DO Not let iMovie or iDVD do this conversion from one to the other - Result will be Very
BAD
I save the movie as a full quality QuickTime .mov file then I use JES_Deinterlacer to do the conversion - then I cont. in iMovie or iDVD with project set accordingly.
JES_Deinterlacer is free on Internet and there are Pro applications but not that much better and costs are astronomical.
PAL-DVDs - don't play in US
NTSC-DVDs - usually plays well in EU
All plays well on a Mac - What ever.
Allosaurus writes
Thank you SDMacuser. I dumped all the plist icons with no result, and was getting pretty plist off when it occurred to me to delete all the previous dvd.proj files. Bingo. That did the trick. So thank you for all your help and the additional information you provided.
Yours Bengt W

Changing an existing DVD from PAL to NTSC

I have just created, and burned, a DVD in iDVD 7.0.4 in my default setting of PAL.
Now I want to print one in NTSC format. I went to Project Information and changed the setting from PAL to NTSC, read the warning given that it would rerender my assets, and clicked OK. I waited for something to happen, and when nothing did, I tried to burn the DVD, assuming it had changed what was necessary. I got the message 'You are burning a PAL movie to an NTSC disc. Do you want to proceed?' I'm using the same discs I always do: DVD-R. I've made no change. Can anyone help, please? I'm on an iMac running Snow Leopard. Many thanks.

Thank you! In desperation, I tried just that. I opened a new iDVD project, set it for NTSC, and imported the movie I wanted to burn from iMovie (where I made it in the first place). I've just burned the new disc and I can't view it on my screen - which is promising. Does this tell me that it's worked - that I've produced an NTSC video??!

Transcoding clip from PAL to NTSC

Hi, just my second discussion post so sorry if this question has been answered a zillion times before.
I need to buy a short stock footage clip that was shot in PAL DV (Standard Definition) at 720 x 576 @ 25 frames per second. I want to transcode to NTSC DV 720 x 480 @ 29.97 fps in PE 4 (by importing into a project and rendering it). Then I will use that transcoded clip in my project.
Before I buy this clip, I thought I'd ask if I can expect reasonable quality or if there are any things to watch out for. I'm assuming I can do what I describe above.
Thanks!
Steve

The conversion from PAL to NTSC can be a tough one, even with professional level software, Steve. As you indicated, it means not only changing the frame size (and pixel dimension) but also changing the frame rate -- which can often result in jiggliness.
Although officially possible, it's usually a pretty ugly transition. I don't know how much you're paying for this piece, but it might be worth challenging your provider to give it to you in acceptable NTSC format before you lay out the money.

G_converter from PAL to NTSC

Does anyone know the time frame to render for G_converter?
I render a 2hr show from PAL to NTSC & it takes 33hrs. Is this the correct #?
thankx
JP
Dual G5, 3GB memory, BlackMagic SDI card,dual Apple cinema 23 Mac OS X (10.4.2)

Sounds about right......what is the speed of your processor?
It took 25 seconds to render a 3 second clip...on a G4 dual 1.25. That is about 7.1 times as long as the clip. But depending on other factors, like what other filters you have on the cips, can make the render longer.
Shane
"There's no need to fear, UNDERDOG is here!"

Grainy Image when converting from PAL to NTSC...

Hi,
I'm using Compressor 2.0.1 to convert a PAL movie to NTSC. I find that the output is extremely Grainy, the blacs are Muddy and the Highlights are colored.
Any suggestions?
Thanks and Regards,
Rajnesh

There are many options when converting from PAL to NTSC with Compressor's Frame Controls panel. Have you tried other settings? Note, however, that the highest quality settings are pretty slow so be prepared for a fairly long wait even on your Power Mac G5.
Otherwise, you might want to try the freeware utility JES Deinterlacer (available on VersionTracker.com). JES Deinterlacer is pretty fast at PAL <-> NTSC conversion and the results are better than you will get with the basic settings in Compressor 2.

Converting subtitle file length from PAL to NTSC

We're releasing a PAL version of a movie in the UK, whilst another company in the US will issue an NTSC conversion from our PAL master. The NTSC master therefore will run exactly 3.8462% slower than the PAL 25fps master, after standards conversion and speed correction.
We'd like to be able to use our PAL spotted subtitle file for the NTSC release, but I need to know if it's possible to 'stretch' the subtitle file by the required 3.8462% in order for it to match the NTSC running time.
I have tried a shareware app called Subtitler (by exporting the track description file and importing into Subtitler), but it does not allow me to input a stretch as a percentage - merely in frames, seconds, minutes etc, which adds the same amount to each subtitle.
Does anybody out there know of a way to create the modifid subtitle file?

Yes, I have already converted the original supplied .txt file, but (and as with most subtitle files it seems) I have had to tweek it myself and add a whole load more subtitles (directly in DVD Studio Pro), which are translations from Chinese to English, which were not included in the original supplied French to English file (the film is set in China and has both French and Chinese throughout!). I have also created another separate Chinese to English file in DVD Studio Pro. So you see my dilemma...
If only Subtitler was more stable - It crashes every time I import the DVD Studio Pro Item Description file.
A friend converted the original supplied file from PAL to NTSC using the excellent (but PC only) Subtitle Workshop.
I have been in direct contact with the very helpful author of the shareware Subtitler app, and he is working on a revision to fix the bugs.

What is an ideal workflow, from the start to end?

With a great deal of interest, I have read many threads as this is mostly new for me. I never owned a camcorder in my life. So, please bear with me about a couple of questions.
So that I would like to minimize trial and error, perhaps a little deep learning curve. I am hesitate to mention that I am Deaf as it has nothing to do the whole issue. But I am having trouble understanding the general concept related specifically to frame rate. Not to mention that I use ASL (American Sign Language) as my native language, and English is my second language.
I have a Canon VIXIA HF S21, a HD camcorder, which records at least four various frame rates: PF24, 60i, PF30 or 24F @ 24 Mbps. My camcorder is a HD CMOS and AVCHD.
I would appreciate any advice about some specific information (one of each in details) about PF24, 60i, PF30 and 24F. So, what is the purpose of those four frame rate, why is it works best under circumstance? Which one works best for all overall camcorder shoots? I am mostly enjoying to record footage of landscape... and recently record of my little pug. Soon will do some footage for videoblogging for Deaf community mostly related to self-advocacy about technology-related to promote and increasing independence and self-sufficient within Deaf community.
I also plan to ‘incorporate’ some of this and that, among some of my photos, some of footage clips and put pieces together in Final Cut Pro X, and output them to iPad, iPhone... and interactive PDF file to enhance more pleasant, unique interactive experience on iPad 2. As an example, I am in awe of former VP Al Gore’s Our Choice ebook on iPad. His ebook is truly amazing, truly a ice-breaker and eye-opener.
Plus, plan to do some project for other Deaf photographers learning about Photoshop and all techniques and stuff. Sad to say is that not many of other online videos are closed capitioned, as in CC for short.
I am mostly familiar with Quicktime concept basically. Now that I own a new camcorder and recently purchased Final Cut Pro X few weeks ago. Now it is a good time to find an ideal ‘digital’ workflow with AVCHD footage files. I see that it is recommended that all of my footage files must be converted to ProRes, since Final Cut Pro X likes to work with ProRes.
From what I had read many forums, I am unsure of any advantage NOT to convert ProRes, Final Cut Pro X automatically import and do the rest for you. But the problem is that Final Cut Pro X is not able to “see” .mts footage files (AVCHD). I think the AVCHD is really weird for some reason... or is it just me?
By the way, I still not able to import .mts files from camcorder connection... and even not able to read or understand .mts files sitting on hard drive. It must be something that I have done wrong. It was not very clear as to do the right approach, because Final Cut Pro X doesn’t have sufficient info to explain this in details. I am still confused and unsure.
By the way, I generally understand the importance of appropriate colour management concept, because it is a must to do with photography workflow, so on. I am very thorough with it and really into it. Since Final Cut Pro X and own a HD camcorder, it brings in some interesting perspective, enhance more experience and all. Anyway, I calibrate monitor with X-Rite ColorMunki Photo. I don’t know if this is going to mess up with overall video editing workflow when using/working with Final Cut Pro X. Some advice and suggestion would be deeply (yes, deeply) appreciated in advance.
What is more, I also own Adobe Creative Suite CS5.5 Master Collection. I already made a couple of photo books with InDesign and export them to PDF and have it published with service provider.
I know I put all information in here at all once. Just to help some of you as to what I would like to achieve and hope to find more efficiency and most reasonable digital video editing workflow. I also want to understand the difference between the four frame rates and understand the why and what’s not ideal to use PF24 or 60i or PF30 or 24F, so on. By the way, I also purchased Motion and Compressor from App Store.
In closing, any advice, technique or tips would be deeply, deeply appreciated. Have an amazing day, friends.
Cordially, Brian

I have several Canon HD cameras (two different HF models) with at least some of these frame rate options. It is important to find out what they really mean with your camera. What I found was that the 30 frame progressive option was not what it claimed to be- the camera's data sheet seemed to say it was PF30, but it was really a modified 60i clip. I think the PF24 was also wonky in that regard and actually also a 60i based file, so I discarded that option as well.
Unfortunately, the basic google search does not reveal specific info about how your camera does this stuff. I think I actually had to talk to Canon tech support to find out why it wasn't working the way my google searches indicated PF24 and PF30 should. Check it out, get specific info for your camera. These Canon's are consumer cameras and don't do things the way a "pro" HD camera does. In spite of that, I've been very pleased with the projects I've done with them.
It was my experience in the end, that with Final Cut Pro 7, it worked better just to shoot in 60i, using the same resolution and data rate settings for all clips.
It might be different with FCP X, so I'd suggest shooting 60 seconds in each format, importing them into FCP X, and seeing if you can use them and how they look. With a standardized length you can compare file size, etc. to extrapolate for a bigger project.
The MTS file thing doesn't affect your workflow if you use the "Create archive..." button when the you import from the camera. It will save the video files (and all the folders and files related) together on a specified hard drive so that FCP X can see the files as clips and import only your chosen clips into your specified event. This also allows you to immediately back up the camera archive to a second drive.
MTS files are only a problem if you drag the MTS files off the camera to a folder on your Mac, you will no longer be able to import them directly. FCP X needs the folder structures and databases included in the folders.
For my orphaned MTS files that must be converted, I use the Turbo HD.264 from El Gato. It is less than optimal for editing, but it is a tool I have in my kit. Fortunately I learned to "archive" my cameras early enough that I don't have many of the MTS files hanging around.
Best wishes. Joel.
Message was edited by: Joel Hall- clearer description of the archive import.

What's the cleanest workflow from PAL to NTSC?

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