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23.98 cross convert to 1080i 59.94 question
I’m going to be working on a project that seems to have a lot of confusion (ie. – people)surrounding it.
Most of the material is shooting on film and coming on D5 at 1080i, 59.94. Some material is shooting digitally at 23.98.
I’ve been asked if we want that material cross-converted to 10801 59.94 or if a straight dub to D5 is ok.
Logically it seems that having everything come in same way is best, but is there a downside to the cross-conversion?I’m not a native Avid user so any help is appreciated.
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1 Reply
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With frame rate mix & match in Media Composer since v4, your particular workflow is going to be more about project and tape management logistics and how you will finish.
Old School: harmonize all source tapes to a single format. SO take your 23.976 masters and cross convert to a 1080i format like the rest of your material. It will not have a 2:3 pulldown in it. EDL or only will reflect all the same type sources and a single deck can support it. If you have different source tapes, you may need different decks as some may not support 23.976 or need an option board etc.
New School: Capture all sources at their native rate in their respective project types (match frame rate) then edit all your material in the frame rare of your deliverable. Media Composer will frame rate convert on the fly in real time to that rate.
If working at finished resolution from the start, then in both cases there are no offline workflow considerations. If onlining on a separate system and using EDL’s, just be sure that system is aware of EDL with mix frame rates since MC can track that and whether it supports it. If onlining on same system or Symphony for example, then it is a matter of recapturing the sources used in the timeline in their respective project frame rates and it will relink.
Michael
Michael Phillips
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