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RED 23.98fps workflow question (from PAL guy)
Hello,
Tomorrow, I’m cutting a TV ad shot on RED in 4k, 23.98 FPS . The ad will air on TV, not in the cinema, so I suppose the result will be a 30FPS NTSC DigiBeta tape. I’m starting to think they ‘d better shot on 30fps in the first place, but too late now, didn’t have any control on that part anyway.
We’re doing the postproduction here in Europe, but since I’m not used to finish films in NTSC, I was wondering if there are things I need to worry about during offline.
I’m offlining on FCP 6.05. I converted the RED files using RedRushes to Prores 1024×576, 23.98 fps. There wasn’t any audio recorded on set , but the actors are singing along with a musictrack (like a musicvideo). Will audio and image playback at the same speed in FCP ? I suppose so, can’t see any reason why not, since the timeline also is in 23.98 fps.
Another question is about the length of the commercial. It needs to be a typical 30″. But when mastering, how is the conversion from 23.98fps to 30fps made? By speeding up the playbackrate, or by repeating certain frames (pulldown) ? I need to know in advance, because in the first case, the offline needs to be longer since the TC of the timeline is 23.98 fps and not 30fps.
Any suggestions ?
Thanks in advance,
Alain
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5 Replies
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They typical workflow for 23.98 footage is to edit and finish at 23.98. Then when you’re done, allow a card like an AJA Kona card to add a 2:3 pulldown when laying off the master tape.
This doesn’t change the timing of the spot. 30 seconds at 23.98 is still 30 seconds at 29.97 with a 2:3 pulldown added. I isn’t like doing a speed change when changing 23.98 to 25.
-Russ
Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT -
[Alain Dessauvage] “, the offline needs to be longer since the TC of the timeline is 23.98 fps and not 30fps. “
30 seconds are 30 seconds whatever the time base you use.
rafael -
ok thx !!!
But for futere reference, wouldn’t it have been better to shoot in 30fps in the first place, since the ad will only air on tv? I’ve never seen it, but a six frame pulldown seems quite visible to me.
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In addition, (i’m a pal guy too, i know how hard it is at start) there are two ways of adding pulldown.
There is the standard pulldown, and Advanced pulldown.Normal pulldown adds a field every 2-3 frames. This looks great.
Advanced pulldown sounds better than it is. What Advanced pulldown does is making up one interlaced frame every 4 frames, from the two frames around it.
This is very easy to remove (just kick out those frames), unlike normal pulldown that needs a more complicated render).
Thus, advanced pulldown is good for shooting 23.976 where the only reason for pulldown is to have the signal fit in the normal NTSC world.IOW, if you get the option to choose between normal and advanced pulldown for output, choose normal.
Bouke
https://www.videotoolshed.com/
smart tools for video pro’s -
ok thx for your help everyone!
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