Workflow question: DVCAM NTSC footage to 1080 24fps in FCP or CT?

We are making our VFX clips in 1920 x 1080 @ 24fps (as in true 24, not 23.98) and delivering to the client as such, but they are supplying their offline locked edit on DVCAM @ 29.97fps.
Every day I need to make an edit by cutting in our shots into the offline edit so the VFX supervisor and lead can review the work in context of the whole. The problem I am running into is the different frame rates.
I was told to convert the offline edit to HD @ 24fps, but I am not sure what is the best workflow for this. I am working on G5 Power Macs running Shake 4.0, FCS2. The main editing station has a Kona 2 card. We have HDCAM and DigiBeta decks. These are the tools available to me. (I have been capturing the DVCAM on my personal deck at home, since we don't have one here).
I have been thinking of asking for the offline to be delivered on DigiBeta, at the very least and using the Kona 2 to do an upconversion but AFAIK that doesn't do any framerate conversion, correct? (I asked for HDCAM, but was then told to do what I outlined above...)
Any thoughts?

Shane Ross wrote:
They are delivering 24fps, but offlining at 29.97? Sounds odd to me.
Yeah, I don't get it either. AFAIK, they are doing the online at "24?", but since this is for broadcast, in the end it is going to be 29.97. Where in the process they plan to do that is not known to me (or currently being made known... whatever).
Their mess.
My headache.
Use Compressor. You can convert their stuff using Compressor. But...29.97 DV...is this film or? How can you remove the pulldown?
I'll give that a try. I have never messed around with doing this kind (frame rate) of conversion; does this simply slow down the playback a little? All these cuts are around a lot of action, but then again this is just for previewing in context so I suppose it wouldn't matter that much if it isn't very noticable.
It can't be any worse than what I am dealing with now.
Whatever...not my mess. You can use Compressor to upconvert after you capture the DV footage...since this is offline. An HD capture card would get the footage into HD, but not convert the frame rate, so that would be a waste. And this is temp only. COMPRESSOR.
Many thanks, Shane. You're always a big help!

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What is best workflow for interpret NTSC footage into PAL project?

Premier Pro CC cutting a film for HD broadcast TV. Majority of footage shot PAL at 1080p, so I made a 1920 x 1080 25p project. Is it okay to make a progressive project for broadcast? Or should I switch to interlaced?
I am supposed to deliver an NTSC tape to the network.
Some footage is 29.97 and 23.97. Is it okay to Interpret footage in bin as 25p PAL and then cut it into my sequence. It seems to play properly; I'm just concerned about problems in the final output. I've read that people duplicate the clip, then interpret to 25fps PAL, and leave the original NTSC alone. This sounds like a good idea. Working on a MacBook Pro Mountain Lion.
When I output the final QT movie, what are the best settings and codec to use for the final
Hi-Res output which I will bring on a drive to a post house to do final CC and layback to tape?
Many thanks in advance.
Patrice Shannon

Convert NTSC <--> PAL http://forums.adobe.com/thread/1209530 may help

Workflow questions with AVCHD footage

I copied the entire content of a SDHC card that was shot with an AVCHD camera to a folder on my desktop. I just used the Media Browser in CS6 to double click on the files to view them. I'm coming from Final Cut Pro where I had to convert all of these files to Pro Res 422 before being able to edit them.
1. Do I just leave the content of this folder as is? Do I need to do anything to the files before editing them? So if I start editing clips from this card after opening them in the Media Browser, and assemble clips in my Timeline and then export, is that all I need to do?
2. If so, to number 1, then after every shoot I would just copy the entire content of a card to a folder on my hard drive and just leave it there until I'm readt to edit it, and after I edit it the folder structure and contents of the card remain the same?
Thanks.

Jim Simon wrote:
With most cameras, material shot on different occasions (possibly days) will each be in a separate folder, within the main folder structure.
With AVCHD, it doesn't work that way. It all goes into the same fodler regardless of when it was shot.
If you shoot something you don't need, the best option in general is to just leave it there anyway.
For organizing different projects, always format the card in the camera before a new shoot. Or use a different card. In other words, don't mix projects on the same card.
Sorry Jim, I hate to take issue with you, but that is not the case with my Canon AVCHD camera. It behaves just as I described in my post. The AVCHD video *.mts files, together with matching *.cpi files are contained within a folder for the day's date inside a TVD_ACHD folder.

Workflow question - need to do quick speed adjustments in fcp and maintain

Tried the documentation first...
I have a project where I will be adjusting the timing (speed) of most of the clips. Once I have the video and audio locked i will undue speed changes in fcp and use motion to get the most precise results / renders. Check me if I have this part wrong.
to facilitate editing i would like to do the speed changes for a clip in fcp and keep it's associated dialogue track in sync. ultimetly this will be a silent film so the dialogue will fall away. is there any way that speed changes applied to a linked video and audio clip can be made in fcp while preserving pitch? otherwise higly annoying to edit.
if not and i have to go to sound track pro to maintain pitch what does the workflow look like to make speed changes and keep audio at the same pitch.
thanks in advance,
wayne - portland oregon

Michael,
That's what I am doing with Batch Export now. I just wish that I didn't have to create a new destination folder for each bin. This is an insurance documentation project. W/o going into too much detail, I have 3100 clips from 54 different buildings, 395 different units in those buildings and the clips for each unit in their own bin. I need to keep that structure intact as I export.
I'm guessing that using Batch Export is the only way to go with out an upgrade to go straight to compressor from the Browser.
K

RED Workflow questions with Mac Pro (including third party plugins)

Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
Editing all footage off 96TB Raid 6 mini-sas server (getting about 1100mbs read/write rate according to AJA system test) which is faster than any Thunderbolt/TB2 drive array I have.
Media I work with is footage from the RED Epic (normally 5K) as well as DSLR footage from the 5d.
Software:
-PrPro CC 2014 (8.1)
-Magic Bullet Looks 2.5.2
My question(s) pertains to RED post-pro workflow in combination with third party plug-ins and the different approaches to make it more efficient.
Right now, majority of the clients need a 1080p HD master, and they are generally anywhere from 2-8 minutes (usually). So my sequence settings are as follows:
Video:
Editing Mode: RED Cinema
Size: 1920 x 1080
Audio: 48Hz
Video Previews
Preview File Format: I-Frame Only MPEG
Codec: MPEG I-Frame
1920x1080
Maximum Bit Depth unchecked
Maximum Render Quality unchecked
Composite in Linear Color checked
Export Settings
H.264
1920x1080
VBR 1 pass
Target Bitrate 12mbs
Max bitrate 12mbs
Maximum render quality/depth/previews unchecked
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
Would using offline editing help at all?
Do you place your effects on adjustment layers?
Is there anyway to improve export settings when using an array of filters?
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?

Hi This Is Ironclad,
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
The biggest issue is that most people have is that updating OS X causes certain folders to be set to Read Only. See this blog post: Premiere Pro CC, CC 2014, or 2014.1 freezing on startup or crashing while working (Mac OS X 10.9, and later).
thisisironclad wrote:
Hello all,
I’ve been searching many forums for the better part of a day trying to get some workflow questions sorted. I’m experiencing (very) slow export times, and mediocre playback for a machine that should be screaming fast.
Here is what I’m working with:
2014 Mac Pro
-2.7 GHz 12-core intel xeon E5
-64GB Ram
-Dual AMD FirePro D700 6GB
-1TB Flash Storage
It's a nice base system. How about an additional speedy disk for media cache files. You also did not mention which version of OS X you are running.
thisisironclad wrote:
Software:
-Magic Bullet Looks 2.5.2
The Red Giant website does not indicate that this software is yet updated to work with Premiere Pro CC 2014.1 (8.1). Proceed with caution here.
thisisironclad wrote:
Issues I have:
-Playback is fine at 1/2 or even full, but once effects (especially magic bullet looks) start to go on the clips, it’s very choppy and has difficult playback at 1/4
I would not use this plug-in until you get the OK from the manufacturer.
thisisironclad wrote:
-Export times (especially with magic bullet looks) will take the better part of 1-4 hours for a video that is 3-6 minutes long. This doesn’t seem like it should be the case for a maxed out MacPro
Again, I suspect your plug-in.
Keep in mind that exports are largely CPU based but you can make sure that GPU acceleration is enabled for AME at the bottom of the Queue panel.
thisisironclad wrote:
So my questions are:
Do these seem like the right sequence/export settings for mastering at 1080p? If not, what would you suggest?
It's OK.
thisisironclad wrote:
Would using offline editing help at all?
No need when you should be able to edit natively. Relinking might also be an issue.
thisisironclad wrote:
Do you place your effects on adjustment layers?
That's one way you can do it with the benefit of being more organized.
thisisironclad wrote:
Have you stopped using third party plugins for their inefficiency in unreliability and switched to more integrated applications like SpeedGrade?
I do. Of course, that's a preference.
thisisironclad wrote:
Is there any other tweaks that you would suggest for RED workflow with PrPro?
Try the following:
Sign out from Creative Cloud, restart Premiere Pro, then sign in
Update any GPU drivers
Trash preferences
Ensure Adobe preference files are set to read/write(Hopefully you checked this out already)
Delete media cache
Remove plug-ins
If you have AMD GPUs, make sure CUDA is not installed
Repair permissions
Disconnect any third party hardware
If you have a CUDA GPU, ensure that the Mercury Playback Engine is set to CUDA, not OpenCLYou have AMD GPUs.
Disable App Nap
Reboot
thisisironclad wrote:
Should I consider switching to FCPX or (besides the iMovie-likeness) does it carry problems of its own?
I really shouldn't answer that question.
Hope this helps.
Thanks,
Kevin

Capturing footage shot in 24fps standard mode

I have footage shot on my Canon XL2 in 24fps standard mode. The question is what should my settings be on FCP to capture the footage properly and do I need to use cinema tools to convert the footage to 30fps after it is captured?

24P standard is fully compatible with (is) 29.97 NTSC footage, so the "normal" capture will work.
You may have misstated / mistyped? You do nothing to convert this to 30 fps. You CAN use Cinema Tools to generate true 24fps from this footage to edit on a 24fps (okay 23.98) timeline.

Yet Another Workflow Question

Ok I too, like many others here, am new to the Mac (thanks to Apple's I'm a Mac, I'm a PC ads that my wife couldn't get enough of). I have done some searching around and I see that there are quite a few iMovie workflow questions out there. I have not quite found what I am looking for however, so I thought I would make my first post tonight. So here it goes...
I have 3 different ways I capture video:
1. Canon Vixia HF10 (HD)
2. Canon Powershot (SD)
3. Blackberry Storm (SD...I know it isn't a good phone)
I record everything to SD cards. I am wanting to know the best way to store my raw video for editing at any time. Do I copy the AVCHD file structure (for the Vixia) and .avi files (for the other non HD) to my hdd, or do I just import into iMovie '09 and let it reside there, or both? I noticed that iMovie had an archival option (which appears to just copy the AVCHD structure to my hdd), which is why I ask. I want to always keep my raw video in case I decide to go back later and create a new video.
After I have the raw video archived, I would like to know the best way to use iMovie. Depending on where I end up storing the raw video, should I keep the imported video in iMovie once I am finished with a project, and then reimport it at a later date if need be? Or, do I leave it in iMovie as events? I guess this all rely depends on the first question...where do I store the raw video for archival purposes...
Finally, when exporting my iMovie project, should I store that in more of a, pardon the Windows reference, "My Videos" folder with a original size, web optimized size, and ipod optimized size? Thus, keeping the actual exported version of the project separate from the raw video?
I hope I have asked the right questions here. I appreciate any and all help I can get!
Ron

Welcome Ron to the  iMovie boards..
very interesting : 'switchers' care sooo much for 'storage strategies' ..
the by Apple intended workflow/concept for iApps is:
any 'photocam' related material (still or movin') comes-in via iPhoto, and is stored in an iP Library (=you can tell iP to create 2/many Libs, if you prefer to organize manually....)
any 'camcorder' related material HAS to be imported by iM - why? because, iM has some internal routines to make such material editable (codecs, thumnails, stuff....). the same material as 'file by Finder' does not import.. in most cases!
storage..
iP stores in its Library (local/internal HDD and/or ext. HDD)
iM stores in Events (local/internal HDD and/or ext. HDD)
to make Projects/Albums accessible to any iApp, you should keep your fingers off that structure.
Erasing Events 'kills' projects.
allthough, once 'shared to media browser' there's a 'copy' of your project WITHIN the project file. (= the socalled Media Browser is no single Folder somewhere hidden in the system)
there's this Spacesaver feature to erase any Event content which is not in use in any project to keep Events lean.
use the Archive feature from within iM to keep things easy and convenient.. if you miss a single file of the SDcard file-structure, the whole card's content is kaputt ..
summary:
• use iApps as intended.
• use iP for cameras, it stores 'raws' (the avi too)
• use iM for camcorders, use Archive to store raws..
• purchase a dozend of HDDs to store your material..

Sharpening export workflow question

I have a sharpening workflow question. Say I have pictures from a portrait session I just finished. I have to send 10 pictures the client ordered to a print lab and I also will make some small facebook sized pictures and upload them to my business facebook page. The level of sharpening needed for large prints (I upload to print lab as RGB JPEGS) and sharpening needed for the very small sRGB facebook-sized pictures is different. In Lightroom I have the option to set the sharpening on export and have a bunch of presets that alter the export size, color space, sharpening, etc(WHCC print lab, facebook, Client CD, etc). I don't see how to do that in Aperture. I see they have the option if you have a printer, but not on normal export.
For those of you that have to export batches of pictures in multiple different sizes (with different levels of sharpening), what is your workflow? I could use some photoshop droplets/actions after Aperture export but I was hoping there was a way to avoid the extra step. Am I overlooking an export feature? The BorderFX plug-in looks like the only other option.
Thank you in advance for time and help!
Scott

Frank Scallo Jr wrote:
The thing is guys - Once a file is sized down it WILL lose sharpening - what we are doing is sharpening the full size RAW file or rather what the full size output would be like. Once we export a version sized down it will lose some of the 'bite'. LR has sharpening options on 'output' which is not only smart but a necessity. Adobe realizes that output for screen needs another sharpen. Apple either doesn't know or didn't bother. It makes ANY output for screen less than best.
Bear in mind that there seem to be two separate issues going on here - sharpening adjustments not being applied on export, and resizing.
As far as resizing is concerned, Aperture appears to use something roughly equivalent to Photoshop's Bicubic Sharper setting. Because of this I've never had much problem with Aperture's exports when used for the web, but obviously everyone's taste for sharpening differs which is why an option for output sharpening would be good.
Sharpening adjustments not being applied on export is a separate issue and should be reported via the feedback form ASAP by everyone who is experiencing the bug.
Now printing is another animal - I wouldn't print directly from RAW in aperture either if I'm printing small. Again, LR beats Aperture here as well since they include output sharpening for print.
Aperture has had output sharpening for printing since 2.0 came out (unless it in was 1.5). In A3 you need to turn on 'More Options' and scroll down, I can't remember where it is in A2. I don't know how effective it is as I print via a lab, but it's there and it's been there for a long time...
Ian

What is the best compression format for 1440 x 1080 24fps HDV?

I have a short film, around 13 minutes long, which I've recently completed. It was filmed in 1440 x 1080 24fps in HDV. What compressed video format would produce the highest quality "lossless" compression of the film? I'm planning on using the video file as my highest quality master copy –besides the FCP file itself. Thanks.

Your master should be exported as QT movie (not compression) keeping same settings and self-contained checked (No loss of quality is involved, the result is a perfect copy of each frame from your original media).
Any other conversion will involve compression then potential loss of quality.
That master will play fine on your machine but don't expect it to play on PCs.
However, you can send it to tape or take the exported self-contained file to a post house for DigiBeta or other transfer if you need screening copies of your video.
For the web H.264 is a great choice, amazing quality and fairly small file size with proper settings.
G.

Pal dVD from NTSC Footage

When you author a Pal DVD using NTSC as your original footage do you need to convert using compressor first or can you just set up for a Pal DVD in DVDSP using your original NTSC footage?
Thanks
Jeff

when you open a project file and change the preferences I believe you will get a warning.
DVDSP is an authoring environment. It would be better to managing the NTSC-PAL conversion in Compressor.That tool is designed for this type of work.

Converting NTSC footage to PAL with compressor 4

Hello, Please can some angel help.
I have PAL and NTSC footage. I want the end output to be PAL.
I have compressor 4. What settings, step by step do I select to change the NTSC footage to PAL.
There is info. on the web all relating to old versions of compresor where there seems to have existing a helpful NTSC/DVD setting where compressor made it clear the setting you needed. This is not an option on Compressor 4 so I am hitting a brick wall.
I would greatly appreciate some advice here.
Thank you
Nicola

What formats are your source files? What format (aside from PAL standard) do you want your output file (s) to be?
Russ

Exporting NTSC footage to PAL: what's the process?

I've got footage that is NTSC SD 720 x 480 res that I need to convert to PAL. Is it as simple as changeing the frame rate to 25 fps on export, or do I need toset up a PAL sequence in FCP, drop my NTSC footage in, then export to PAL?

Beyond the frame rate, the image size is also different (DV/PAL is 720x576)
There are a couple of ways to this standards conversion.
1. Take the final material to a Post house with standards conversion hardware (e.g. Snell & Wilcox, Teranex)
2. Use Compressor to convert frame rate and frame size. Frame Controls set to "best" for both retiming and resizing.
3. Purchase and use Graeme Nattress's Standards Conversion plugin for FCP.
If #1 isn't an option, try #2. If the length of time is daunting, try #3.
All should yield good results
x

Have NTSC footage that needs to be edited on a PAL editing suite. How?

Hi --
I have an interesting problem. I'm on a crunching deadline and have a bunch of NTSC shot footage that needs to be sent to the UK for editing and broadcast there. Obviously, the UK is on a PAL system and the editors over there use FCP, but in PAL. Is there a way to digitize my footage into my Mac and then export that footage into a PAL format that they can read and load into their system over there? Or do I even need to do that at all? Can I just export to a QT movie and they can then load that very same file into their system without any problem? I have no idea. Hoping someone in here does.
I'm on a serious deadline, so hopefully someone out there has a fast answer.
Many thanks in advance.

The Nattress plugins work well for applying to individual clips on an as-needed basis. Converting media with compressor is good if you want to be able to select from a large amount of footage without having to convert the standard piece-by-piece.
If you turn on the frame controls in Compressor, it will do a good job of converting the frame rate, and can be set up to do a large batch of files without a lot of babysitting, and can run on the source media files dragged in from the finder, so FCP doesn't have to busy during the process.
If you edit the NTSC footage directly into the PAL timeline, you won't be able to convert the media with compressor and reconnect without having to re-edit, because the timecode will change from 29.97 to 25 fps.
If it were me, I would send them the NTSC footage and describe their options as far a using the Nattress filter or Compressor, and let them decide what they want to do and convert the media themselves. If they want you to do the conversion, you should get paid for it.
Software conversion really is probably the way to go in this case, particularly if you already have the footage captured. Getting PAL tape masters might be more expensive and time-consuming to re-log & capture. However, Pal tape masters would allow them to re-capture later if necessary, without having to go through the process of re-converting in software...
Hope this helps -
Max

Best practise to convert NTSC footage to PAL

Hi,
I have received a drive with NTSC footage and it needs to be edited to made available in both NTSC and PAL format.
Importing the NTSC footage is straight forward, but if I need to encode it out for the PAL format, is there a process available to do this through Premiere Pro?

Harm, I found this query today as I have a similar situation. I shot a memorial service for a client who, after the fact, told me that she needs to send several DVDs to Norway! Knowing that I might be facing a transcoding challenge, I came here and found your reply. With consideration for Todd's point to After Effects (which I suck at, candidly), I am pleased to know that PAL DVD players can handle NTSC encoded stuff. THANK YOU!!!
P.S. I've seen your advice in other areas of the PPro forum and have always appreciated your insight...thanks for that, as well!
Terry W.

Using footage shot at 24fps

What type of settings do I need utilize when capturing and editing footage shot at 24fps?
Anyone able tohelp
Thanks
Mike

Well,
I shot the footage already. I shot on the Canon XL2. I was trying to figure out how to capture it. When I set the audio/visual settings and have the timeline set at 24fps then bring the footage in, it needs to be rendered. The only way I can capture and have the footage not need to be rendered is when I have both the capture settings and the sequence settings set at 29.97. I do not know if it will effect my footage or not if I have it playing on the timeline at 29.97.
Thanks
Mike

Workflow question: DVCAM NTSC footage to 1080 24fps in FCP or CT?

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