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24P NTSC Mini DV Materials in Pal Material konvertieren  - Profis gefragt!

24P Mini DV NTSC material in the material convert Pal - pros demand!



Frage von NickInvicta:
September 2007

THIS QUESTION IS TO PROFESSIONALS exclusively!

Hello,

I have a problem whose solution I do not respond in the local forum could find. since I'm new can it be that I have not found it, so should be me know quickly the direction!

THE SITUATION:
I'm working on making of time s.einem. This material was (despite my vehement protests!) with a ntsc pal and a camera. what is added is that it is genuine anamorphic, interlaced PAL HDV material on the one hand - while I'm on the other side progressive 24P recorded with NTSC material. who understands the extent will be pleased to hear that the NTSC material in 4:3, with letterbox was recorded. yes, this is a fun ...

I work with Final Cut and now have a regular 16:9 DV PAL project is created. the HDV material is obviously no problems. BUT when I use the NTSC material in the timeline prefer the following will happen: the building s.einer hears some time on, while the sound continues. the (I thought) is that the material has 24P.

My unsuccessful attempted solution: I have the visual material to approximately 80% slow, visual and sound are played back synchronously. but only playing! a still image shows the moved next bild! how can that be? when I use the material ausrendere I also get a completely asynchronous bild! why?

THE QUESTION:

HOW DO I GRADUATED FROM MY 24P MATERIAL WITH FINAL CUT MATERIAL interlaced PAL DV? QUALITY IS NOT PRESENT, prime!

A THOUSAND THANKS FOR ANY HELP!



Antwort von PowerMac:

Hör ma ', so None can answer that: Which version of FCS?
LASS AND THE capitalization. THE NOT HEARD!

A conversion of interlaced to progressive does not make any sense. Control your timeline on full order. The change goes into a current Final Cut Pro version auto, otherwise the Nattress filter or as always, MPEG Streamclip. Motion 3 can be quite synonymous.
If you have FCS2, then cut in a 16:9 sequence with the ProRes 422 codec. Simply drag HDV, NTSC pure. The cuts.



Antwort von catchafire:

Perhaps you what
http://www.videocopilot.net/tutorial.html?id=41








Antwort von beiti:

Since the NTSC 24p material has offered to it in accordance with the principle of film scans to run faster and thus draus 25p to make.

How this with Final Cut (or else on a Mac) accomplished, I can you not say, unfortunately synonymous.

On Windows, I knew what I used instead (as an AVI movie store with a tool the framerate of the AVI file increases, sound editing and separately according to speed).

Apart from this, I ask myself all the time, in what format this 24p NTSC was. Is it ever as a pure 24p before or are still subject to the 2/3-Pulldown (then the first would have to be reversed)?



Antwort von WoWu:

... if what should be reasonable then let the finger of this whole filtering ... see the pictures afterwards usually worse than before and remember, if you are 25/50 material with NTSC material mixes get 4:2:0 + 4:1:1 = 4:1:0.
So take a device that is all color corrected with ... Snell & Wilkox, Ukon ... the result then at least professional quality ... and it runs in realtime, so no week-long rendering .... for a meager output.




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