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offline 29.97 project for 23.98 online
Hey guys,
Sorry if this has been asked a million times, but I can’t find anything specific with a search. I’m being given a 29.97 FCP offline final cut project that needs to be conformed to 23.98 for online with HDSR 23.98 source tapes.
I’m aware of exporting EDL’s, doing the conversion and bringing them back into Final Cut Pro, but if there is a way that I can convert the project itself to preserve all effects/transitions etc. without having to re-create them during the online that would be great since this might be an effects heavy project.
thanks in advance,
-Ian
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8 Replies
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I would like to know the answer to this as well. Also, what tools do you guys use to convert the EDL frame rates for this purpose?
Thanks
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If your footage is already 29.97, then you need to continue to edit 29.97. Then export an EDL, use Cinema Tools to convert the 30frame EDL into a 24 frame EDL, import that into a new FCP project, and then recapture.
Shane
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I was hoping to not have to use EDL’s since the effects will be lost, but I figured this was the only way. I hope there aren’t that many that I’ll have to re-create. A day of copy and pasting effect parameters from one sequence to another isn’t my idea of fun, but so be it!
thanks!
-Ian
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[Ian Lamb] “I was hoping to not have to use EDL’s since the effects will be lost, but I figured this was the only way. “
It’s not the only way. There’s a bunch of things you can do. The best method depends on your project size, how many tapes, etc.
Here’s one way that works if you don’t have a shitload of media source clips. Go to the Capture Scratch folder and run each clip through Cinema Tools (do a reverse telecine) which creates a new media file (you’ll need enough drive space for this). This makes your SD footage 23.98. You can then reconnect the clips in your sequence to this new 23.98 media. You should then copy and paste everything in your timeline to a new 23.98 sequence. From there you use Media Manager and batch capture from the SR deck like normal.
Sean
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Awesome idea! Unfortunately, this is a 120 minute feature and I’m not being given the original media, only an offline project and a box o’ SR’s to do the conform. I wonder if CinemaTools would let me do the reverse telecine with offline clips. Hmm..
Also, would copying and pasting into a new 23.98 seq keep the cuts frame accurate to compare to the ref cassette I need to upconvert?
-Ian
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[Ian Lamb] “I wonder if CinemaTools would let me do the reverse telecine with offline clips”
Yes it will.
[Ian Lamb] “Also, would copying and pasting into a new 23.98 seq keep the cuts frame accurate to compare to the ref cassette I need to upconvert? “
Mostly. But “bad edits” which are edits you made that are not film safe will be short a frame. This happens with EDLs as well. So you need to go through and close the 1-frame gaps.
Another option is this. If the SR deck has the pulldown option, you can just recapture at 1080i60. You can then export your feature as a Quicktime movie, and run it through JES Deinterlace to remove the pulldown w/ automatic cadence detection, thus bringing it back to 23.98.
None of these are simple. EDL may be your best option, depending on what your show consists of.
Sean
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In each of these options how would you deal with the A-frame issue to properly remove the pulldown? With the way FCP has its temper tantrums I can’t imagine you can ever do this with ease. I am becoming more convinced that FCP is not a good tool for a busy post house with a tight schedule.
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[Jimmy Spangler] “In each of these options how would you deal with the A-frame issue to properly remove the pulldown? With the way FCP has its temper tantrums I can’t imagine you can ever do this with ease.”
Neither of those options use FCP to remove pulldown. The first option is Cinema Tools. When you remove pulldown in Cinema Tools, you park the playhead on a frame and then tell it which one it is. I find BC the easiest to identify.
The second option is JES. It automatically detects cadence breaks. It works flawlessly most of the time, but for quick rapid cuts it may not always work.
None of these options are good or easy (including EDL conversions). That is why editing 24p footage at 24p from the very beginning is always the best option.
Sean
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