i have a problem with some heli footage im editing in fcp 7. all of the clips are aerials, filmed with a cineflex system on hd-cam sr. as there are different objects to film (landscapes/cities/wildlife/etc) the director chose to use different frame rates, so im ending up with a mixture of 1080p25/50/60. my trouble starts with digitising: im using a sony srw-5800 recorder connected to a aja 3g. as i want all of my footage in 25p on my timeline, the playback in the machine is always on 25fps, so for the tapes with 50/60 frames i will capture slow-mos. my first problem is, that there is no way for me to set fcp to 1080p25 for capturing.
after some reading i figured out a setting in the cona with an additional fcp preset, that will allow me to choose a 1080p25 preset in fcp. yet when im trying to capture 1080p25 i will only get a distorted picture - it looks like only the green channel is transfered. after talking to a couple of people at sony, ive been told, as there are no fields in my progressive material, i can just set fcp to 50i, capture and then manually tell the clip in fcp via object settings that it's actually progressive.
the archive im talking about are 400tapes that have all been captured in prores 422 (hq) 1080p25. as im working with the footage im having severe problems. i cannot assure that they are really there, but i get the feeling that there a still typical interlacing artifacts in my footage after changing the clip to progressive. besides being pretty annoying, it is not too diffecult to get rid of that problem but my second and bigger prob is:
as soon as the objects are filmed vertically or i have fast camera/object movement, an extremely ugly shutter problem occurs. im editing on a prores 1080p25 timeline.
changing to 50i in order to solve my problem and make the fast movement (which i have a LOT) smoother, actually does help but as this project is supposed to go on 35mm, i have to stick to progressive. the only format that works for me at the moment is 720p50. obviously that is not solution for delivering the final project and a pain in the neck to work with. as the trailer has to be mastered to blueray now im totally clueless what format to choose. the trailer will be playing in pretty big theatres, so it would be a shame to have to downconvert the footage to 720p. but 1080p50 just seems to be a format that doesnt exist, or am i wrong here?
i've been trying for months now to solve this and would much appreciate some help on this topic.
thx a lot in advance,
[Johannes Fritsche] "my trouble starts with digitising: im using a sony srw-5800 recorder connected to a aja 3g. as i want all of my footage in 25p on my timeline, the playback in the machine is always on 25fps, so for the tapes with 50/60 frames i will capture slow-mos. my first problem is, that there is no way for me to set fcp to 1080p25 for capturing."
The problem is understanding the issue. The 5800 default output is PSF, not P.
With Aja You will need to capture the signal as 25psf or choose 25i and then change the field order to none.
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thanks a lot for your reply. that is actually the workflow i ended up with. i have tried both, setting the 5800 to 25psf and to 50i, capturing with 50i in final cut and removing the fields afterwards. the result is the same, since there are no fields in the original footage. my problem is working with it afterwards. i was just trying to make sure, that im not doing something wrong in the capturing process, because i still have "artifacts" in a couple of shots that look like typical field order problems. it occurs mostly when there is a lot of detail in the picture, for example a lot of rooftops, etc. in addition, everything that is shot vertically/has fast camera movement has a very unpleasant shutter problem. as long as im working on a 25p timeline that is. 50i gets rid of the shutter problem, because obviously it is always better and smoother for fast movement. im just clueless on how to continue working on a progressive timeline, since i have to master on 35mm. the only solution so far is 720p50 as 1080p50 doesnt really exist, at least it is not accepted by the laboratory that will master the film..