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23.98 footage workflow to 29.97 delivery for broadcast
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[Jeremy Garchow] “I’d recommend cutting in 29.97i as X can handle the pull down correctly (not 29.97p). “
While this works fine – and is the way a lot of shows are cut – you will end up with a mixed cadence. The plus side is that no edits will be in the middle of split field frames. The downside is that the 3:2 cadence changes with every clip. Depending on the QC requirements, that may or may not be an issue.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
[Oliver Peters] “The downside is that the 3:2 cadence changes with every clip. Depending on the QC requirements, that may or may not be an issue.”
In my experience this would be listed under “usually an issue”.
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[Oliver Peters] “While this works fine – and is the way a lot of shows are cut – you will end up with a mixed cadence. The plus side is that no edits will be in the middle of split field frames. The downside is that the 3:2 cadence changes with every clip. Depending on the QC requirements, that may or may not be an issue.
“FCPX handles this very well. You have to delete (any) all renders, and then export a final timeline at 29.97i to get a whole 3:2 cadence across the program. If all of the footage is 23.98, there is no cadence until you render. This is why creating the graphics at 23.98 is crucial.
This is much easier than trying to time commercial breaks from 23.98 to 29.97 df, in my opinion. Again, none of this is possible with 7, and it completely possible in X.
Adding new frames using Optical Flow may cause mushy interpolated frames, which also may fail QC. I think a consistent 3:2 across the program will fair much better.
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[Jeremy Garchow] “FCPX handles this very well. You have to delete (any) all renders, and then export a final timeline at 29.97i to get a whole 3:2 cadence across the program.”
Aah, OK. I didn’t know this. Thanks.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
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