23.976 NTSC to HD problem Adrenaline DnxHD

[Michael Phillips]

When switching over to 1080 it is only the “project” that is defined as that and not all the source clips. The source clips all stay at their native original rate. Only sequences can be converted. If it is a source clip you are trying to capture, you first need to cut into a sequence, then convert the sequence to 1080 once in a 1080 project. This is done by highlighting the sequence in the bin and selecting “modify” from the menu. In the menu, select 1080. This will make a 1080p version of that sequence. Decompose the sequence to get the source clips or batch capture the sequence which consists of the entire clip (handles set to 0 in this case).

Not the most intuitive way, but the way it is currently implemented.

Michael

[Dan L.]

Thanks Michael,

I did try the Modify Sequence, but I couldn’t get it to work, I wasn’t looking for a DUplicate sequence, so I will give it another shot.

Best,

Dan

[Chris Magid]

Michael,

You guys really need to push for a better way to get this done. The switching project types routine is also “for the birds”, whatever that means.

Please tell me Symphony Nitris is going to be much more elegant when working with varying frame rates and resolutions (all SD and HD).

Think everyone would prefer a timelime centric approach, rather than a forcing everything to common formart on a project or clip level.

Chris Magid

[Dan L.]

I have to agree,

It seems like it should be a quick fix to be able to modify a master clip, as well as a sequence. All a master clip is is timecode numbers at that point.

Seems like it should be a lot easier to modify a master clip, or make a duplicate master clip that is in the right project format.

Best,

Dan

[Michael Phillips]

Easy enough said… but not in reality as I went down this road with engineering. The issue is that the START timecode is based on MOB ID which are based on the format. The offline source is NTSC so the START is 30 but it has a capture mask which defines the pulldown cadence relationships for proper 24 frame tracking in an NTSC environment.

When going to HD, it is true 24 and the associations are reversed. These are two separate MOB ID based on tape sources. There are also a lot of other dependencies on the tape MOB ID such as KeyKode, audio TC relationships etc.

By doing it through the sequence, the software creates new clips based on the sequence thus creating new TAPE MOB ID’s for only the associated clips. This protects the original clips for continued editing in the NTSC space.

Michael

[Dan L.]

Mike,

I see the problem. But it just seems a little like makework for the user. It makes you add the step of cutting all your master clips into a sequence to then break them out to duplicate master clips.

This makes more sense if in your workflow you are looking to online a cut sequence. However if you have a reason to want master clips that are not allready in that sequence, say pickups, it just adds that extra step. The master clip should detail where the A frames are as well as the sequence. I am not opposed to making duplicate new master clips that are correct for the project, I just wish I could highlight a bunch of master clips and do it right from the bin with the logical, modify clip, set source command that allready exists and have it create the same duplicate master clips as it would create if I had highlighted them all and cut them into a sequence first.

Best,

D

[Michael Phillips]

I agree with you, that is one of the proposals for changes moving forward – the ultimate way is to have on-the-fly 24/30 tracking where each clip can have multiple rates without the need to duplication. One can even consider throwing in 25fps as well.

It’s all a matter of engineering resources, schedule, and priotities…

Michael

[Dan L.]

Thanks Michael, good to know it is under consideration.