d5Dmk90?

squig said:
Superb 30p to 24p Workflow

1. Create copy of clip so you'll have two clips, one to convert to 24p and one to preserve audio.

2. Open Cinema Tool (part of Final Cut Studio), File, "Open Clip", choose "Conform", specify "23.98" to conform to.

Explanation: This keeps the same number of frames in the clip, it only changes the timebase from 30fps to 24fps, essentially creates overcranked footage by 6 frames, (desirable on some shots). As a result this makes the clip longer and slows the audio down which is undesirable where audio is important. At this point you've already created a copy of the original clip therefore preserving the original audio which we'll relink later in Final Cut.

3. Now we'll convert the clip to a desirable format for the workflow and effectively speed the clip back up so you get desirable 24p realtime results. Using Compressor 3 convert the clip to any of the following settings:

* Apple Pro Res
* Apple Intermediate Codec
* DVCPRO

Important: Make sure that no matter which codec you use that it remains as a 23.98 fps timebase.

Now open the inspector window so we can do some tweaking. Under "Frame Controls" tab, click the button to the right of "Frame Controls:" to enable this feature. Once enabled, select "On" for "Frame Controls:" Underneath the "Retiming Control" section is where we'll make changes. For "Set Duration to:" click the radio button where it will allow us to put in a percentage. The magical number we'll want to put in here is 79.996%, then depending on how well you want the footage to look also taking into consideration the time it will require to compress it choose the desired quality under "Rate Conversion:". I choose, "Best (High quality motion compesnation)" to get superb results, however this increases the compression time.

Now, what have we done here? We've converted the unusable H.264 format into a format we can edit in and sped the footage back up to original duration using Apple's Optical Flow Technology.

4. Now take the treated clip into Final Cut insuring the timebase is 23.98, delete the audio track and add the audio from the copy of the clip we made. Now relink and presto!

I've extensively tested this and find it to be the best way to convert 30p to 24p for the time being, or atleast until and hopefully Canon comes up with a firmware to address the issue.

Additional Tips: If you have multiple clips to treat, in Cinema Tools, choose "Batch Conform" locate one file where all the files are located. Then setup batch conversions in compressor, if you have a quad core or 8 core configure Q master to take advantage of all cores otherwise it will take longer.

One final note, depending on the specific needs of your project you may need to treat many individual clips or take your finished project (of course h.264 has been converted to an editable format) and follow the steps above to get great results. I've tested a 9 minute clip and was able to complete the compression on an 8 core in one hour and a half.

Bests,
Denver Riddle
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good stuff..thanks for this.

Do you have any footage with the original and treated version to compare?
 
mattsand said:
you don't have to confirm first. just use compressor and set the output frame rate to 23.98 and the result will be exactly the same. increasing the speed by 20% and reducing the framerate by the same amount is the exact same problem, and compressor does indeed solve it the exact same way. are the results good? not really, especially considering the insane rendering time.

/matt
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have you thought of writing a scrip to convert 30p to 24p in FCP?
 
why, when compressor does it so well? i might have developed some useful scripts, but nothing that comes even close to using optical flow algorithms. i do have a plugin for conforming/interpreting to 24p or any other frame rate though, it's called the frame by frame interpreter. drop any clip on it and it will play back at the framerate of your timeline.
 
I haven't tried it personally but another guy did recently and he said and I quote "this is better than sex"
 
Super8 said:
man I tell you..most of my clients get it..but some.....man I could go on and on...

4 months ago I shot some beauty shots on widescreen...
client comes back and says....
"yeah looks awesome but can the black lines become red as our logo and can we put our phone number and website info in it? WTF??????
Click to expand...

hehe, gotta do what you gotta do to pay the bills.
 
24p -> 30p is not a big problem. The major hassle is to handle with FF35 DOF in a setup of one-man-show. The GH1 autofocus feature can be a solution but it doesn't compare with a better camera such as the 5D Mark II. Use both like I intend to do myself after to have bought the Canon and wait for one (GH1) or another (Samsung NX series expected for the 2nd half of 2009). And of course, you have a true upcoming revolution called Scarlet (2/3" and FF35). Horses for courses.
 
I own both the D90 and 5DMarkII and am a long time Nikon user with a large Nikon lens kit. Both cameras can be used to create nice footage if you know how to work around their quirks. Personally I find the 5DMarkII much easier to use and easier to control via the workarounds. Also, the 5DMarkII image is much sharper and I find it easier to get a great image in low light with the 5DmarkII. I use the adapter ring to use all of my fast Nikon Lenses on the 5DMarkII and it works great. I hope Nikon will improve the video quality with their next camera so I'm still a Nikon fan but for now I favor the 5DMarkII.
 
Another thing that I noticed right away was the big difference in rolling shutter between the D90 and the 5D mark II. It was much less rolling shutter with the 5D mark II. Some people have commented that the 30fps might help reduce the rolling shutter. I don't know the details but I do know that I couldn't even think about a doing a handheld shot with a 50mm lens on the D90. Using a 50mm is not really a problem for me on the 5D mark II. The added DX crop factor on the D90 is probably also part of the problem. So I guess it's a combination of the full frame sensor (no lens crop factor) and the added frame rate that significantly reduces the rolling shutter effect on the 5D mark II. Either way I found it much harder to deal with on the D90 and not so much a problem with the 5D mark II.
 
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