Frage von Doyle:
Hello,
This is again one of these troublesome issues, how to get PAL material for a later DVD NTSC formatted?
Say 29.97 fps is the sticking point at.
The whole thing will later with a menu on an NTSC DVD, which is then compatible to the Best case in the U.S..
So I have an Avid cut in PAL format with 25fps.
Have there been as synonymous Same-As-source to be present Quicktime (about 86GB).
The starting material is no longer available.
Jetz, I have the following software resources:
(even working in a post production operation)
Avid (both latest version for Win and Mac)
Final Cut Studio 3 (including Compressor, Cinema Tools, DVD Studio, etc.)
MPEG Streamclip
Adobe Master Collection CS4 (both Win and Mac)
Book now I have been through dozens of variations, but there is always exposing something.
A brief summary of recent results: Cinema Tools: - Done quickly, 1-click of 25fps to 29.97 fps
- Run 64min at 52min of change -> not I'll take the best
- Pitch is smurf-like high
- Rework pitch only deteriorated the quality
MPEG Streamclip: - Double only every 5th Frame -> synonymous not optimal
Compressor: - Makes general draus 23.98fps, at least I have the setting for something else not found
- Although there is a menu item "image control" where something of "25@29.97 stands", but it takes 50 times real time and produces a 23.98fps-result as well that only one ichs 1min clip with've tried;)
Avid: - Import the results into a 25fps quicktime 30i Project ugly streaks in picture, therefore, exports fell
Since we are dealing with us in the company as well as garnich with standard transformations, we have not synonymous right software for workflow at hand.
Although we had projects, but it was mostly 24fps material which had to be converted to 25fps and as Cinema Tools and eventually reached the Avid Effect "TimeShift" to adjust the pitch.
At 29.97 fps is the difference, however, too large for a clean result.
It must still be possible with this range of programs to realize what that nevertheless cost a porcine money.
For suggestions, I am grateful:)
Doyle
Antwort von MK:
If your source material with 25fps progressive available, I would slow the framerate to 23.97fps, adjust the sound by time-stretching so that the running time of approximately 4% change, but the pitch remains the same, and to NTSC DVD with pull-down flag encode so that when people are shown with a progressive player / display setup and full frames for people with conventional setup 29.97fps with 3:2 pulldown.
Antwort von Doyle:
So in the Avid, I can easily switch between 25i and 25p and out here, I would say turn on 25p, then becoming-frames, one sees synonymous directly in the Avid, the lines are interpolated.
So rausrechnen So then again, I've got a 25p Quicktime.
Cinema Tools would be to convert the 23.98 fps, which I had schonmal synonymous, since the difference of 25 to 23.98 nich is all too great, we hear very little difference in sound.
But even the original could be adapted at runtime s.The Effect, but I am of the opinion that an adjustment period with the pitch changed anyway, will say higher or lower.
But well, to make as much.
That with the 3:2 pulldown nich, I understand completely, you can set the DVD-Studio or similar?
Antwort von PowerMac:
Shake brings good results.
Compressor via Frame Controls and Quick Cluster
http://www.cinema5d.com/viewtopic.php?f=13&t=5214
or following the instructions of Philip Bloom.
Antwort von tommyb:
There are only certain possibilities for a conversion of your material:
1) 25p - (PAL-Slowdown) -> 23.976p - (2:3 pulldown) -> 29.976 (interlaced)
2) 25p - (Frameinterpolation) -> 29.976p (embedded in interlaced)
3) 25p - (vector calculation) -> 29.976 p (embedded in interlaced)
Case 1)
Is the usual method synonymous films from overseas can be run here in Europe. Then it is called PAL speedup and ABSOLUT is common (read: how's) to make the pros.
Case 2)
Either can be here to interpolate frames by Frameblending (expects a portion of the frames together to create such a lack of pictures) or duplication (leading to jerkiness!).
Case 3)
Only works with raw material quite well, and especially only with simple material (no wiper through the picture, no Lensflare -> then) gibts garbage.
Case 2 is generally recommended for 50i/60i conversions, because there s.wenigsten noticed. For you 1) would be the right way (especially since the NTSC client then synonymous REAL progressive picture) gets ugly without interpolations. No worry, the pitch change one takes only be true if one is familiar with both versions.
