1080/50i and 720/24p material mix in a project, does it?
Frage von fragenüberfragen: Mai 2009
Hello, I have a small event on film. Unfortunately, besides me of my own Cam still of friend borrowed for this feature, however, all in different formats. So I will therefore PAL HDV 1080/50i, 720/24p HDV NTSC and PAL DV 50i material. The final product will be a PAL DVD. With the two interlaced formats, so there should be no problems, but how should I use the HDV 720/24p material NTSC conversion, so I think it with the other two can mix? Is there a way out of the 24p material 50i material to arrive? If yes, how? I use Final Cut Pro. Also Compressor and Cinema Tools would be available.
Thanks in advance for your tips, Edi
Antwort von Axel:
Geht. Of course, not ideal conditions, but mixed, as Apple has promised yes. I would choose the timeline, the total loss s.wenigsten quality services, but what it is, I can only guess. 720p25 likely. In that case I would first clean 24er material on 25p, since Final Cut Pro or simply a frame per second doubled (bucking): Compressor> Frame Control (25p default tab in windows) to activate. > Frame rate conversion:> Quality: "Better" or "optimal". Experimentation.
Antwort von pailes:
I would 24p-25p material simply as material to interpret (; with Cinema Tools) and not umkomprimieren. It runs faster then although minimal, but normally it should not be noticeable.
Antwort von fragenüberfragen:
Thank you for your answers. I will immediately try to test times.
@ Pailer: If I interpreted this as 25p material to slow down 4%, it is then synchronously with the other recordings? I have namely the different shots in the post still can synchronously cut ... The sound is obviously not of the 24p recording, which is no preference ...
Regards, Edi
Antwort von pailes:
Quote:
@ Pailer: If I interpreted this as 25p material to slow down 4%, it is then synchronously with the other recordings?
Thus you would have the advantage that no intermediate images are calculated to be lost. Ie this works, but in the end is similar to what Axel has proposed.
Quote:
I have namely the different shots in the post still can synchronously cut ... The sound is obviously not of the 24p recording, which is no preference ...
If the frame-accurate sound with the 24p-material needs to be synchronized, then of course it's complicated. You have to be sound in these parts adapt synonymous (eg, via time-stretch). Could be tricky but not impossible.
Antwort von Axel:
"ask questions about" wrote:
Hello, I have a small event on film.
"ask questions about" wrote:
... the pictures of the different in the post still can synchronously cut ...
Here comes naturally the keyword "Multiclip" in the sense, in other words, all the cams and run their footage into an extra lane and lay synchronously with the same feature from Final Cut Pro as Director of the image in a live transmission of the best Camera menu.
These two considerations. First, it can happen only with the same codec and same frame rate. Secondly, three different brands, for example, every record in DV Pal, different looks. It would thus be a lot or be adjusted, and so appears to me to make sense of the workflow, two shots before cutting to convert and adjust all three colors.
Is this not an option for you, I would 24p to 25p in an open timeline drag and look how it is displayed. A wrong frame rate may fall to 90% of shots not in the eye, and if they do, where they do, you could practically a single snippets (eg if a quick flick motion) sense adaptiv a frame rate conversion.
Antwort von WoWu:
Hi Edi,
Quote:
Geht. Of course, not ideal conditions, but mixed, as Apple has promised yes.
Apple promises sometimes something that is in practice very different looks ... Although you can multi-formats in the timeline, drag, then umgerendert but each clip and as a result you get a lot ruckender and interpolated results, a normal person does not really tolerate. Time, quite apart from that madcap long. If you do eg 24 simply conform than 25, you get always a picture twice. There are in fact from 24 to Figure 25 .... A Picture is only "to gezaubert". Although this is qualitatively a better result than the interpolation, but work, the extra images from the timeline to remove (otherwise flick it once per second and that falls pretty uncomfortable at-) ... also agrees with the sound not only for a short insert is recommended. Also, the 4% you can obviously only do this if the take in the timeline is ... but this he must first adapt to the format ... does not. You will therefore Axels Recommendation does not come around and look at the ausuchen Takes need to want to use and then only have to edit a convert. My recommendation: choose a common format such as 720, and 1080 fell on it. Artificial "bloat" of the format, I would totally avoid, because such cuts as the audience feel uncomfortable. Also, I would different tools for the conversion try and the best compromise (each change is a compromise) to select. In any case, you have a lot of work ahead of you ...
Antwort von pailes:
"WoWu" wrote:
If you do eg 24 simply conform than 25, you get always a picture twice.
The ..."- Conform feature in Cinema Tools of Final Cut Studio does not work like that. In a "conform" of n frames / s to m frames / s is the duration of each frame of 1/n-tel second amended 1/m-tel seconds. The display time of all images remains the same but there is no picture inserted, etc.
But I can well imagine that other tools to define the term differently, but I can only talk about Final Cut Studio.
Antwort von WoWu:
Strangely it makes my FinalCutPro as interpolated and not a piece, but I shall merely the 24th Picture a second time. Because I would like an interpolation least have a choice of Interpolationstools have .... Cinema is the choice tool but not!
Have just been made a short and 24 than 25 konformed .... and promptly is a Picture more (twice) in my timeline .... What are you doing differently?
Antwort von pailes:
"WoWu" wrote:
Have just been made a short and 24 than 25 konformed .... and promptly is a Picture more (twice) in my timeline .... What are you doing differently?
I work directly with Cinema Tools for Quicktime files, not with timelines inside of Final Cut Pro. In Cinema Tools, the only clip with a new frame rate re-interpreted, the picture number remains the same only the display duration of individual changes to the desired value.
