Video Post & Transfer in Dallas, TX can definitely do it. They've transfered 16mm shot at 16 fps to regular miniDV and corrected for the speed. They actually do it really well, they have something called "Metaspeed" that they developed that allows this. But David is right, any pro telecine place should be able to help you with that problem.
Depending on the number of blades on the projectors shutter, the used system (PAL-NTSC), and the shutter speed from the capure camera, you get flickering. Can be solved with electronic speed regulation on the projector and some tweaking of the camera settings. Then the camera does the 'pulldown' for you, in real time. Then you end up with a 25 or 30fps file, but running at the -almost-right play speed. But then you also have a file with duplicate frames...
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No matter the speed of the transfer, the output is always (hardware) frame rate converted, very often with special interlacing and duplicate patterns to give smooth playing files. The Flashscan8 works like this. The speed of the transfer is the play speed of the resulting file, but this file is always 25fps...
Most NLE programs will do the same as mentioned above: adding duplicates with mathematic patterns, depending on the play speed settings. For example: 18.75 to 25 is a 3 to 4 pattern. Every 3 frames, you get one duplicate.
Probably because it was a film chain device using a Super-8 projector pointed at a video camera, more or less. That would be limited to Super-8 projection speeds, usually 18 fps and sometimes 24 fps on most projectors. Any standard telecine can run at 25 fps.
Almost nobody can transfer super-8 film at 18 FPS without flicker apart from high-end equipment. About the only things known in the USA that would run at this speed into video without flicker are the Sony BM2100 (which stuttered between 15 and 20 to average out at 18), the Kodak Videoplayer VP-1 (a jump-scan flying spot scanner which worked great for the first few hours except for vertical quiver) and rotating prism gadgets like the Goko (a glorified movie viewer.) Some people have done severe projector butchery to put in a 10-bladed shutter to run 18, but this requires a very fast pulldown which is noisy, unreliable and hard on the film.
Using Handbrake with "default" de-telecine and staying at 29.97 fps, video looks good. But if I slow it to 23.976, while the image looks fine (no combing etc.), I get the feeling that in motion scenes, the image flickers (here is an example, look when the door closes and when she moves sideways).
First, am I correct? Is there really a problem with motion in that video, or am I just looking at it too closely and imagining things? When I watch the source I also notice this (so maybe the telecine was badly done? Here is the part of the source that matches the above example).
Second, if there's a problem with my de-telecine, how could I go about solving it? I've tried custom de-telecine commands I found here (like "-vf fieldmatch,yadif=deint=interlaced,decimate") and the results were worse: I also got combing artifacts.
An umbrella term for converting movie content to TV/video. Pronounced "tel-uh-sin-ee" and "tel-uh-scene," the process has been used offline to convert countless movies to videotape for ultimate distribution via TV, cable and satellite networks. The original telecine process dealt only with film to video conversion, but when digital TVs emerged in the late 1990s, telecine algorithms were built into DVD players and TVs that include frame rate conversion, deinterlacing and upconversion.
Movies are shot at 24 frames per second (fps), and although advanced digital TVs may display 24 fps movies natively, many cannot. As a result, movie material must be converted to 60 frames by the DVD player or TV. Since 24 does not divide evenly into 60, four movie frames are converted to 10 progressive frames. The process, known as "3:2 pulldown" or "2:3 pulldown," cannot create a flawless copy of the original movie because 24 does not divide evenly into 30 or 60 (see below).
Although new movies on DVD are in the progressive 24 fps format (24p), older movies on videotape, which have previously undergone the telecine process and the 3:2 conversion, are sometimes recorded on DVDs. If a DVD player or digital TV supports "cadence correction," it reverses 3:2 cadences back to full film frames before it applies any telecine process (see cadence correction). See deinterlace, upconvert, 120 Hz and DCDi.
Uma curiosidadeĀ que, ao menos por enquanto, apenas os contratantes por meio da Claro tambm conseguiro assistir aos ttulos do Telecine pelo Globoplay. Na poca, a assessoria do grupo chegou at a confirmar ao TudoCelular que os clientes de operadoras poderiam conferir o contedo pelo streaming principal da empresa, porm isso no ocorreu posteriormente.
The display control panels are available by either right-clicking on the Windows desktop or by clicking on the tray icon in the lower right corner of your task bar and then clicking the icon for the control panel.
Another display setting you should know how to tweak is the aspect ratio. Older games and standard-definition TV might run in a 4:3 aspect ratio, such as 640 by 480 pixels or 1024 by 768 pixels. When you play them on a modern widescreen monitor, they may look unnatural when stretched to match the full width of the display. GPU control panels have settings to let you tweak aspect ratio; and though some monitors have aspect ratio controls built-in, using the GPU control panel is simpler and ensures that your settings remain the same if you should ever switch displays.
The left panel deals with general color controls, and works even if you have an analog (VGA) connection; the color changes are internal to the card. The panel on the right, listed under digital flat panels, alters the values in the digital output signal sent via DisplayPort, DVI, or HDMI. You also get controls for such variables as color temperature. Setting the color temperature to 6500K (degrees Kelvin) is generally appropriate for video. However, this adjustment changes only the output color temperature to 6500K; you may still need to calibrate your display to achieve accurate color temperature settings.
Using two or more displays can significantly improve productivity. If you just want to configure two displays for independent use as spanned or cloned displays, the Windows display control panel generally produces adequate results.
Finally, modern AMD graphics cards can perform acceleration techniques that improve the quality of downloaded video files, or video you may have shot with your own camcorder or smartphone. For example, AMD Steady Video uses algorithms to smooth out the shaky nature of video shot with small handheld devices. AMD also offers accelerated video conversion, which makes it easier to convert videos from one format to another. The video conversion feature offers no quality settings and works only when you drag your video onto a portable media device that supports MP4 video.
The built-in MP3 File and MP3 for Audio Podcasting presets in Compressor use the MP3 transcoding format. This format encodes MP3 files, which are often used for digital audio players. You can also create custom presets that use the MP3 transcoding format.
Time ruler measures sequences time horizontally. Numbers indicate that the sequence time is displayed along the ruler from left to right. They change according to the level of detail at which you view the sequence.
Playhead, formerly called the Current-Time Indicator or CTI, indicates the current frame displayed in the Program Monitor. The current frame displays in the Program Monitor. The playhead is a blue triangle on the ruler. A vertical line extends from the playhead to the bottom of the time ruler. You can change the current time by dragging the playhead.
Playhead position shows the timecode for the current frame in a Timeline panel. To move to a different time, click in the Playhead position and enter a new time. You can also place the pointer over the display and drag left or right.
To move to playhead using timecode, click the timecode value in the Playhead Position. Type a new time, and press Enter (Windows) or Return (macOS). Do not use the number pad on macOS. You can use any of the following shortcuts when entering timecode:
To exclude all video or all audio tracks, Shift-click to hide the Eye icon (for video) or the Speaker icon (for audio). It excludes all tracks of the same type. (Each icon is a toggle switch. Shift-click its box again to display all the icons and include the tracks.)
You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track. You can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type.
Premiere Pro includes two alternate 24p pulldown schemes for DV 24p: Repeat Frame and Interlaced Frame. Both options convert 24p footage so that it plays back at 29.97 fps, but there are subtle visual and performance differences between them. You can select one of these options in the New Sequence settings when starting a new DV-24p sequence, or change it in an existing sequence.
By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation.
You can apply any of few third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks. Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details gives your project more of a film look. e24fc04721
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