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23.98 to 59.94 Online / Offline Workflow
Hello,
I would like to verify a workflow for a project I’m starting that will be shot on a CineAlta F900 HDCam along with a couple of Sony HVR-V10U HDV cameras. We would like to shoot 23.98 / 1080p for the aesthic “look” of 24fps footage, but ultimately our output will be a 1080i / 59.94 HDCam master. In addition, we want to do an SD offline for all of the editing (DV25) and then HD online to DNX-145. The offline will be done in Xpress Pro 5.7, and we will have an Adrenaline / Media Composer for the online.
The V10U cameras shoot “24p over 60i,” so I’ll have no problem digitizing those tapes into a 1080i / 59.94 project and then batching from them later. My concern is with digitizing the 23.98 tapes, with pulldown, into the 59.94 project. I’ll be using a JH-3 for this, and my only worry is that, after doing the pulldown to 29.97 timecode, I will have trouble when I try to online because all of the TC in the system will be 29.97, and the TC on the tapes will be 23.98. I have had this problem before, although it was with a different HD-Cam deck, and the only way to circumvent it was to tediously adjust clip start times so that they didn’t start between the 24th and 29th frame. Does the JH-3 (or any other deck) “read” the 29.97 timecode and understand how to go back and pull from the 23.98 tape? I have read mixed things about this on the forums and could really use clarification on the process.
Unfortunately, I don’t have the equipment necessary to test this workflow, so any insight / experience is appreciated, and given my shooting format / destination format, if someone has a better approach altogether I’d love to hear it.
Thanks,
Dave
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7 Replies
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First, don’t shoot the fake 24 in the V1U. It really looks bad next to the true 24 of the F900. It has a “steppy” look that will stand out.
Second, I don’t know about the JH3, but the higher end decks convert the TC to 30 frame to match the Frame conversion. They do need to have the frame conversion board in them though.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
Thanks for the reply Terence…I guess my only other question is, is this a typical workflow given my desired shooting / outputting formats, or is there another approach altogether I should be looking at? The majority of broadcast HD seems to be 1080i / 59.94, and I have to imagine most projects are shooting 23.98 for the non-video “look,” so what other workflows are really out there for this situation?
Thanks again,
Dave
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You need to know your deliverables before you start. Even though no one is broadcasting 23.98, many want a 23.98 master now as that covers them for any international sales also.
Terence Curren
http://www.alphadogs.tv
http://www.digitalservicestation.com
Burbank,Ca -
We shoot 59.94, then use Magic bullet in AE to create the 23.98…this is then rendered out with 3:2 to give the film look. I am very happy with the results.
Mark
Mark Harvey
Senior Editor
Le Réseau des sports -
I haven’t tried Magic Bullet before but may give that a shot…do you accomplish all of that in a single render, or do you need to render first to 23.98, re-import, and then output with the 3:2?
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I bring the footage into AE, then set the footage not to de-interlace. Next I create a 23.976 comp and drop the footage into that. I then apply the Magic Bullet frames filter and it de-interlaces for me. Next I add a look, then render out to 29.97 adding 3:2 pulldown….this now imports into Avid with the pulldown already applied.
Mark
Mark Harvey
Senior Editor
Le Réseau des sports -
Thanks Mark, I will give that a shot.
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