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24p and 23.976 on the same timeline. Going out to DCP
Ok, project is a feature. Editing to a final out as a DCP package.
My plan was to edit sequences containing multiple scenes and put the sequences on to a master timeline. Footage has been shot on a Red and a Canon C300. Red is 4K and Canon 1920 x 1080. Red has been filmed at 23.976 and Canon at 24p. Not only that but Canon is in a different ratio to the Red. Yep, it that’s kind of movie folks.
So couple of questions. What should my master timeline be? Footage is roughly half of each speed. This is considering I’m going out to a DCP package. My main worry is audio of course. It’s looking like all audio has been recording separately at 44100Hz 24bit.
This is on first discovery of looking at the footage in the last hour. I wouldn’t be surprised if speed changes as they obviously don’t know what they’re doing. I’m thinking of ditching any 4K res as that’s just a pain and any cinema distribution is going to be minimal. Timeline/output res is going to be 2K. Red however is 2.33/4480×1920 ratio (why I’ve no idea). So ratios is a bit of a mix too.
My final question is about putting out the master timeline to Davinci Resolve (I’ll ask this question over on that forum to if no-one answers here). Having a timeline with just four or five master sequences in the same timeline, if that is then exported over to Resolve do the sequences appear on the Resolve timeline as the shots or just the sequences?
Even though this is not a long edit (they can’t afford anyhting that takes long) I’m thinking of just transcoding everything into the right frames rates and ratios or should I work natively saving time but then spending a little more time adjusting everything as I edit?
Sorry for the long post. Any advice gratefully received.
JPSendall
Story, not pixels.
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4 Replies
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well DCP is 24 only. There is no 23.976 format supported so you’re going to have to conform in premiere the correct framerate
before using adobe media encoder’s built in DCP support. Yes, it will change the speed of the footage and audio. (maintain audio pitch).
Having a high quality master is always a good idea; 4k is supported in a lot of theatres now.
Premiere and Resolve don’t support each other’s XML speed changes, so keep that in mind. -
Thanks Chris
So might as well keep my main timeline as 24p and work from there?
Once I bounce out to Resolve and grade I was thinking of finalising the DCP files from Resolve rather than come back.
4K I’m keeping away from as they don’t have the budget for it more than any other reason. Plus the Canon footage is not going to look best in 4K or have you experience in HD up to 4K masters looking ok? It worries me cutting from Red 4K to Canon HD that there will be noticeable resolution changes.
Thanks for the heads up on XML speed changes.
JPSendall
Story, not pixels.
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yes keep it 24p, thats the only way to go if DCP is the output.
cutting the HD with 4k shouldn’t be much if any noticeable.
Premiere is really good at scaling down. -
Thanks
JPSendall
Story, not pixels.
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