-
24fps dvd / bluray ghosting issue
Hello,
I have a problem concerning a 24 fps project that needs to be burned on DVD and Bluray (PAL), in that it gives ghosting when played on dvd/bluray player.
I know DVD players supports classic PAL (25 fps) & NTSC framerates (29.97) + 23.976 fps, and asume this is the same for bluray.
But what exactly happens when I render let’s say an mpeg2, 24 fps out of adobe and use it in my dvd authoring software (DVDarchitect), for burning? My first thoughts are that DVDarchitect copys every last frame, to make the 24 fps into 25fps, thus creating ghosting.
Would it be a solution then to render my project at 23.976pfs and burn it at that same frame rate? Or will this result in duration/pitch shift?Supposedly, final cut has a solution to this, with cinetools, but since I don’t own final cut, I was wondering if there are other solutions out there.
Many thanks!
-
1 Reply
-
As to what DVDarchitect does I haven’t the foggiest, but I would rely more on a proper editing program to conform frame rate before I would a DVD burning program (I’m sure most of them take the liberty to process the footage as little as possible to conform to the DVD standard)
With Premiere, it’s basic modus operandi (phrase of the day) is to keep duration/sound sync consistent while dropping or blending frames.
With that in mind you can do two things:
1. Take your 24fps timeline and nest it into a 23.976 timeline. Review it and if you see any artifacting, right click your nested timeline and select “blend frames” and review it again. Export if it meets your standards. Do the same for the 25fps version. You’ll find the result acceptable in most cases – animation and high movement action sequences may suffer a little. Duration and sound remain the same.
2. This is a little more traditional. Export a high quality intermediate of your footage at 24fps. and bring it into Premiere, duplicate it in your library. Right click and go to interpret footage, set one to 23.976 and the other to 25fps and create corresponding timelines for each. You’ll notice that the sound is sped up/slowed down slightly on each to keep sync but this is very common practice with theatrical telecine. The overall duration, of course is affected. The beauty of this method is that only sound is resampled, while the video is untouched.
——————–
Angelo LorenzoNeed to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks
Reply to this Discussion! Login or Sign Up