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Will this work?
Shoot 23.98 HDCAM non-drop frame.(Free-run tc)
Capture to a firewire drive as Apple dv 29.97 through deck SDI downconvert for offline.
(letting FCP make new clips automatically when there is a tc break).
Offline at 29.97.
Redigitize for online at 59.94 (Probably prores 4:2:2)
Output to HDCAM 59.94.
We have quite a bit of experience with HDCAM shot at 29.97 progressive (on Avid) but absolutely no experience with 23.98 on FCP.
When recapturing are we going to have tc issues with the deck doing the 23.98 – 29.97 conversion? Would the redigitized clips be + or – 1 frame because of the pulldown? We plan to use FCP 6 and a Blackmagic card.
Any “gotcha”‘s to watch for? -
24 Replies
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WHy bnot capture to 1080i29.97 DVCPro HD?
Much easier for online purposes.
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Why not capture at 23.98 DVCPRO HD? You shot 23.98…keep it 23.98. Then you can recapture at uncompressed HD at 23.98, color, and output at 1080i 59.94.
Really? 59.94? As a master? Why? 1080p23.98 is the better format…you can convert that to ANYTHING. And since your footage is 23.98…what are you gaining by going to 59.94? Is this a client requirement? If so…then that’s the answer.
Shane
Littlefrog Post
http://www.lfhd.net -
[Shane Ross] “Why not capture at 23.98 DVCPRO HD? You shot 23.98…keep it 23.98.”
Absolutely!!! I’m with Shane 100%. My motto is always “same aspect ratio, same framerate.” Why make things difficult?
“No job is worth doing more than once…”
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
We need to deliver a 59.94 HDCAM master. The only reason
the client wants to shoot 23.98 is for the “filmlook”.
If we were to edit in a 23.98 timeline, how easy is it convert that
to 59.94 for output? Would we not run into issues with jumpy credit rolls and other field based effects looking like crap? Sorry if these are noob questions, but this is the first time we have had to deal with 23.98.
DVCPRO HD is out of the question for offline because of the amount of footage needed to be captured: 26 episodes x 3 cameras. That’s why
we were thinking of apple dv. -
If you had a Kona3, you could edit @ 720p23.98 DVCPro HD and have the file size roughly double of DV, not that bad and it’s still HD and you won’t have to worry about tc issues.
You could also capture to dv 23.98 as well with a Kona3.
Jeremy
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And for the online…if you online at 23.98 then output to 59.94, it will output fine.
DVCPRO HD 720p23.98 is about 22GB/hour. Compared to DVs 13GB/hour. Not that much difference. Get more drives…drives are cheap compared to the headaches of capturing DV at 29.97 then trying to convert the cut to 23.98, or capturing the footage at 29.97 then taking the time to reverse telecine and manage all that.
Drives are cheaper than time and headaches.
Shane
Littlefrog Post
http://www.lfhd.net -
[Shane Ross] “Get more drives…drives are cheap compared to the headaches of capturing DV at 29.97 then trying to convert the cut to 23.98, or capturing the footage at 29.97 then taking the time to reverse telecine and manage all that.
Drives are cheaper than time and headaches.”
Absolutely again!!! Shane, you’re on fire today!!!
“No job is worth doing more than once…”
David Roth Weiss
Director/Editor/Post-production Supervisor
David Weiss Productions, Inc.
Los Angeles -
Thanks for your replies.
What about the conversion to 59.94 for delivery?
Do you drop the 23.98 sequence into a 59.94 timeline
or do the conversion directly through the Blackmagic or AJA card?
Still a little unclear on how this works in FCP.
Any issues with moving graphics looking jittery? -
[David Roth Weiss] “Shane, you’re on fire today!!!”
Ehh…color correcting. A lot of render time. Do a chunk…then render. Do a chunk…the render.
Shane
Littlefrog Post
http://www.lfhd.net -
Don’t know how the Blackmagic cards work, but with the Kona cards, you set the video output to 29.97 and the card adds the pulldown.
Jeremy
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