From: Sam Wells (email suppressed)
Date: Wed Dec 26 2007 - 12:20:00 PST
> The 24p mode for the most part works really well and produces good-
> looking results. If you want to edit on a 23.98 timeline, though,
> it takes some fudging in the capture process to get it all worked
> out. There are different techniques on the Mac and PC side of
> things. Personally I work on a Mac, so my process involves
> capturing as native HDV, then transcoding to ProRes 422 with
> Compressor, which removes the pulldown and gives back the original
> 24 frames. The downside to this is that ProRes takes up between 3
> and 4 more times the space as HDV, so one tape ends up being about
> 45gb rather than the usual 13gb for DV and HDV. Then again, storage
> is pretty cheap these days.
This sounds like the technique Mike Most suggested on CML, here's how
to do it as a batch process:
"Another way to do this - a potentially easier one - is to use Apple
Compressor, if you've upgraded to the Studio 2 version of the Final Cut
suite. Compressor now has a "smart" reverse telecine function that will
analyze the clip to determine pulldown cadence (much like After
then write a new 24p clip using whatever codec you want. It will
well, so, for instance, if you wanted to go from 60i HDV to 1920x1080
in 24p, you could do it in one drag and drop step by making a
Compressor that takes in HDV and spits out 24p ProRes. It's a nice
doing it because you can do a batch process - capture a bunch of clips,
lasso them all, and drop them on the droplet. Then walk away for
minutes. This method works quite well, the results are very clean,
seems to get the cadence right every time."
You can do it in After Effects as well.
(I saved this as I had been thinking of getting one IF I could get a
mod to remove the IR filter, no luck so far unless I want to "DIY" -
which I'm not sure I'm up for, well I've got plenty of digital
weirdness to work on currently......)
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.