For those extracting 24P from 24F...

[Barlow Elton]

I wanted to share a method I've found that seems to work most every time with the FCP/Cinema Tools combo.

The problem thus far with my SDI to DV100 captures has been that I often had to do multiple inverse telecine passes in Cinema Tools to get the correct extraction of the 3:2 pulldown.

Now, I seem to have something that works every time.

Workflow:

--Ingest of HDV or live SDI to DV100 or PhotoJpeg into FCP. You could convert m2t's via Mpeg Streamclip too.
--Line up a clip with the first progressive frame after pulldown frames (i.e. the combing interlace frames you see on movement--harder to detect on static frames though)
--Mark an in point on that frame in the viewer, mark an out point on the final pulldown frame of the same clip
--Export as a self-contained movie (no recompression)
--Import clip into Cinema Tools
--Click on inverse telecine button

There are four boxes in this window

--Click on F1-F2 under "Capture Mode"
--Under File: click New (smaller)
--Under "Conform to", click 23.98 and check mark on Standard upper/lower
--Under "Fields", click DD and Style 1

Well, that looks like alot of work, and it certainly is for a workaround, but the results are worth the hoops you have to jump through. With clip extractions you can work in a true 24p timeline in any codec you want from 24F footage.

Hope this helps some of you.

Barlow

[John Cordell]

Helps me! Thanks a lot, will try this today.

[Gary McClurg]

I asked this in another thread... but how are you guys resyncing your audio...

[Robert Sanders]

Cool. Thanks Barton. I was having the same problem with have to redo the inverse telecine in Cinema Tools multiple times.

[Barlow Elton]

Originally Posted by John Cordell

Helps me! Thanks a lot, will try this today.

Cool John, let us know if it works for you too. btw, I hope that wasn't too confusing. Basically, mark an in on the first non-pulldown frame, and an out on the last frame of the clip that is interlace.

[Barlow Elton]

Originally Posted by Robert Sanders

Cool. Thanks Barton. I was having the same problem with have to redo the inverse telecine in Cinema Tools multiple times.

I wish you knew how many times I get called Barton.

Try this and give us your feedback too Robert.

[Barlow Elton]

Originally Posted by Gary McClurg

I asked this in another thread... but how are you guys resyncing your audio...

I'm just capturing RCA out of the camera, through a Mackie mixer, and into the Kona XLR analog inputs. I boost the audio slightly through the mixer and it sounds fine.

I know it's not entirely ideal but at least it saves me from having to grab stuff off of HDV tape. The difference in quality isn't worth the hassle IMHO.

There are a number of ways you could resync audio, Gary, but I think the best thing is to go analog out of the camera (until there's a deck!) and into the computer. The stereo miniplug input on the G5 is surprisingly good too. I've captured 1 hr tapes in a single pass, with audio input this way and had no sync or quality issues.

The ultimate solution, of course, is to go dual system ala Tascam HDP2, but I've found the audio quality of the H1 HDV to be pretty dang good.

[Cory James]

Barlow or anyone, could you tell us your FCP capture/sequence settings when ingesting your 24f from the H1?

I've tried HDV x DV and Streamclip and DVSCAP and I can't get anything in that doesn't need rendering, and worse, when rendered the quality is horrible, like bad High 8 horrible.

I keep trying different capture and sequence settings and testing clips and nothing seems to work.