Apple MA434Z/A User Manual - Page 127

You can use these options to convert individual shots that you're compositing within Shake, or you can read in an edited sequence from an application like Final Cut Pro for format conversion using Shake. Important: If you're converting a clip from a video frame rate to that of film with the intention of adding 3:2 pulldown back to the video (to achieve a film look for video), render the 24 fps conversion first. Add 3:2 pulldown to the shot in another operation by processing it in a second script, or by adding 3:2 pulldown with a command-line render. For more information, see "Reintroducing 3:2 Pulldown After Transforming Media" on page 117. Fast versus Best In Remastering Parameters When setting up a remastering operation, you might be tempted to simply choose Best across the board for every parameter. This would probably be a mistake- producing dramatically longer render times in exchange for a visually undetectable increase in quality, especially at higher resolutions. That said, every clip's requirements are different. One group of settings is unlikely to produce equal results for shots with widely different exposures, grain, and camera movement. You're encouraged to do some limited tests prior to committing yourself to a particular group of mastering settings. As you experiment with different settings, be sure you always compare the output from the Fast settings to that of the Better or Best settings, to make sure that it's worth committing yourself to the more computationally intensive Best settings. Automatic Scene Detection for Multiple Shots If you're reading in a sequence of pre-assembled shots, the remastering operators in Shake use automatic scene detection to eliminate artifacts at the frame boundaries between shots. This edge detection works well for cuts and dissolves. but other types of transitions may produce unwanted artifacts. Chapter 3 Adding Media, Retiming, and Remastering 127