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23.98 Multiclip editing
I have a 23.98 HD multicamera music concert to edit and would like to cut it at DV 23.98. It has been shot on HD cam over a couple of nights resulting in 29 cameras and about 45hours of footage. Once the first edit has been done we may need to take the project to the client for further editing using a laptop. For this reason the media has to be fairly compressed and the data rate be low enough to run up to 9 cameras at once in multiclip from firewire 800 raids ( I plan to use G Raid ).
Ideally I would like to edit at DV quality as this is how I have done other projects and the quality is excellant and the data rate manageable. Unfortunately as this has been shot at 23.98 I can’t find a way to digitise the footage from the HD cam tapes ( using a JH3) into FCP producing DV 23.98. The remove advanced pull down function doesn’t work as the JH3 doesn’t produce the required flag. As it is a music job and we will be receiving remixing during the job and approval cuts to the artist the client wants to stay in it’s native 23.98 format and doesn’t want to cut it at 29.98 because of the speed change to the music.
Is there any other way to remove the pulldown?
The only way I can see of doing it otherwise is to use the Offline RT Jpeg HD 23.98 compression which brings the file size down dramatically but also looks rubbish! It works though, but if there’s a way of getting it in as DV it would be great.Any ideas? I hope this all makes sense, it’s a confusing area but I can’t beleive there’s not a simple solution to removing the pulldown inserted by the JH3.
Thank you in advance for thinking about it!
Reg.
Reg
2.7 Dual G5
FCP 5.0.4
OS 10.4.5
4Gb Ram Kingston
750Gb Graid SATA
500Gb Graid Firewire 800
Kona LS -
2 Replies
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Reg,
A few thoughts.
Multicam:
First off, you need a pretty fast array to pull nine streams of DV. I don’t think it will work on the firewire drive attached to a laptop. If you look at apple tutorials using multicam you will notice that the files are usually captured at smaller frame sizes (like 360×240) to make the multicam eding much easier by using smaller files and small data rates. At DV with nine streams you are asking the drives to access nine files on nine different parts of a full disk with a data rate of 3.8mbs . The pure math and pyhsics makes this dificult. You might have to go to a smaller frame size for your offline but tweak the photoJpeg quality (create an easy setup with a higher data rate.Advantage, you will probably be able to edit pretty seemlessly. Disadvantage (you will be using the computer monitor (as I am not sure the frame size will play out the LS.
23.98
You can configure the JH3 to play out at 23.98. Then setup a 23.98 capture preset and you are off to the races. TO do this in DV (if you want to go that way, but do a test first to see if you can edit nine angles)then just create an easy setup with DV at 23.98. You can deselect the remove advance pulldown box when you do this.
Advance pulldown removal only applies to the metadata recorded in DV or DV HD streams. IE. It would apply to any camera that shoots 29.97 or 59.94 that can record these flagged frames. SONY HD camera’s do not do this. If it were shot on Varicam or HDX900’s then you could use this feature.
I am not sure if your card (the LS) can do pulldownor pullup on the fly. You could capture it all DV and cut at 29.97 and then matchback(do not attempt this, find a way to cut 23.98 natively.
Not sure what you are doing for the online but if you were planning to put this to HDCAM or SR for mastering then you need to have a tri level sync to output at the 23.98 framerate. You might want to finish this 59.94 if it is for Broadcast delivery.
Hope this helps.
David
Peace and Love 🙂
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Hi David,
Thanks for that, sorry it’s taken so long to reply but Christmas happened and then I was on another job so couldn’t test anything out until now.
I managed to set up a 23.98 DV capture setting which, hallelujah, worked just fine. The bit I was overlooking before was changing the input to 1080 23.98 and the compression output to DV 23.98. I’m getting a facility company to digitise the material for me and they have a Kona 2 which copes fine with this.
Once in DV on the Graids I can take it home and cut away as usual on my G5. If the media is spread over a couple of drives I have been able to run 9 angles at once but otherwise I just start with 4 and do passes with the other cameras.( If we have to run it on a laptop I wouldn’t expect to run all the cameras simultaneously so that’s fine.)
The only drawback with FCP compared to avid here is that you have to switch the selected cameras for each instance in the timeline which means going through each edit in open gang and changing the 4 cameras viewable in the the viewer. It’s a payoff I’m ok with as a swap for being able to multicam edit at DV quality instead of an avid ‘m’ resolution but it would be great if there was a way of changing them for ‘all selected instances in the timeline’. (Clients get a bit edgy when they say ‘can we just have a look at the wides’ and 10 minutes later they’re still watching you click away!)
I don’t know whether you do a lot of multiclip editing and this is something you know about or not? If not I’ll make another post for it and hope Apple pick up on it.Thanks again for your reply and Happy New Year!
Reg
Reg
2.7 Dual G5
FCP 5.0.4
OS 10.4.5
4Gb Ram Kingston
750Gb Graid SATA
500Gb Graid Firewire 800
Kona LS
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