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-   -   60i to 23.98 reverse telecine- point me in the right direction! (http://www.dvinfo.net/forum/high-definition-video-editing-solutions/241236-60i-23-98-reverse-telecine-point-me-right-direction.html)

Larry Huntington August 4th, 2009 11:13 PM

60i to 23.98 reverse telecine- point me in the right direction!
Hi everyone,
I have been searching the internet incessantly for a trusted workflow to transfer HDV 1080 60i footage (many hours worth) to 23.976 to work with on a 24p timeline in FCP 7. I switched cameras and frame rates mid-stream on a feature doc and want to conform to 24p. I learned the hard way switching frame rates, and also learned that apple still has not resolved their 2:2:2:4 pulldown issue on their "open format, frame rate timeline" with FCP 7, so I need a solid work flow work around.

If anyone has a link or work around to share on the best way to reverse telecine 60i footage, please do share.

So far I have used compressor 3.5 to reverse telecine, but the footage is skipping every 4th frame or around that on the FCP timeline. I heard DVFilm is the way to go also, but I don't want to front $149 when I just dropped $300 on Final Cut Studio 3 upgrade.

I'm working on a 23.976 XDCAM EX timeline.
Footage I want to convert was shot on a Canon XHA1/Sony V1u 1080 60i
Footage I want to match up to is a sony EX3- 1080p24 vbr.

Thanks for any ideas or help,

Christopher Drews August 5th, 2009 01:36 AM

I don't have any solid advice for you but just a couple questions.
Does it makes sense for you to cut in Native EX format? Most people I know take EX out of the codec and make it Pro-Res. Honestly, that is what I would recommend since it will lessen the amount of rending you must do - it also allows to utilize the new Proxy codec - which in my mind is a huge leap forward for editing. So my advice would be to take everything out of their native codec and go Pro-Res HQ for Online, then take everything and make it Proxy (for speedy editing and mobility).

Now - about de-interlacing: My method has always been to use AE to "guess pulldown" and then to use Cinema Tools once pulldown is determined. I hate the way compressor does it and JES. I've had quality problems with both of these methods.

My believe is (could be unfounded but I have found it true) that programs with "Cadence Detection" usually sacrifice something in terms of quality. Not so for Cinema Tools if you know how to use it and jump over the pitfalls (ie Cadence Breaks).

AE also is great for this task but it will take forever, render every frame while transcoding. I used this method with the feature film - wouldn't recommend unless you know you're making a HD-CAM SR.

Anyway, hope this helps,

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