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24P DV out through Kona? firewire?
Okay I am having a major brain fart. Somehow cutting two features, and my 9-5 editing job is staring to make me crazy!
I am working on a film, originating on 35mm. I captured 29.97, reverse telecined in cinema tools, and have been cutting in FCP in 24p. All has been going well, but I haven’t been using any external monitors, I know, I know… but its just been me by myself, and I can focus much better when I get sucked into my mac display.
Well as thee title of this post reads, I cannot get the 24p DV footage out to an NTSC monitor. Not with thee Kona2 or Firewire. My DVCPRO HD film comes out fine… but I don’t see any settings for DV 24p.
What am I missing here? I know it can be done right? Its only DV!!! And yes, I know I can nest it into a 29.97 timeline and it does play back. but I was hoping there was something a little bit easier!
-Rick
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4 Replies
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Couple of missing pieces of information here:
Will you be releasing the final on film or video?
If it is film, then work in 23.98, not 24. Remember, even if film is shot at ‘pure’ 24, it is slowed down in telecine to 23.98 for the purpose of recording to 29.97 video. So if you work in pure 24, you may end up with some audio sync problems on really long takes. You can still film-out at 23.98, so you don’t gain anything by editing in 24. Also, what you are watching on your RGB monitor is progressive scan, but it won’t be on an NTSC monitor [there is no such thing as a SD video format at pure 24 fps]. You can only achieve progressive scan playback on a monitor that has the capability to display it, and a working format that is inherently progressive scan. As mastering formats go, only HD allows progressive scan.
If you are mastering to SD video at 29.97, don’t even bother to edit in 23.98. You gain nothing but some extra drive space. FCP will add pulldown to the NTSC monitor as it plays even if you are editing in 23.98, so the ‘look’ won’t be much different. The only advantage I know to editing AND mastering in 23.98 for a SD video release would be if you are ultimately going to output from FCP to compress for DVD. The advantage being that if you have a finite amount of space on a DVD for media, you can use a higher quality compression on a 23.98 project than you could if you were working in 29.97 because there are less frames, and DVD players automatically add pulldown on 23.98 footage when they output to a TV monitor. [in other words, if your film takes up the maximum space on the media space of the DVD at 29.97, you can use less space if it is 23.98. You could therefore use a better compression scheme to max it out again].
So to solve your monitor problem [short answer], edit in DV at 23.98. you might have to re-do your Cinema Tools footage to 23.98 to accommodate this — highly recommended. Goto http://www.cinematography.net for some excellent guidance on many subject related to this topic.
steve covello
double wide post -
Thanks Steve.
I just figured out that the sequence was set to 24fps not 23.98, right before I read your post!
So should I have not reversed telecined to 24fps? should I have gone to 23.98?
It is ending in film, hence the 24 fps workflow.
Thanks for the link. It is very helpful.
-Rick
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Thanks Steve.
I just figured out that the sequence was set to 24fps not 23.98, right before I read your post!
So should I have not reversed telecined to 24fps? should I have gone to 23.98?
It is ending in film, hence the 24 fps workflow.
Thanks for the link. It is very helpful.
-Rick
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Since you can output to film with equal easy with either a 24 or 23.98 master, there’s no point in inconveniencing yourself by working in 24 since it would mess up your NTSC screening process among other things. I suggest reverse telecine-ing your footage to 23.98 from the original material.
Steve
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