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24p question
I was wandering, is it a right thing to edit your 23.98 footage on a 23.98 timeline and once it’s done, put it on a 29.97 timeline in order to do an output?
I’m running a decklink sp on a g5 dual 2ghz, I want to output to a uvw-1800 betacam sp and when I try to do so with a 23.98 based timeline I get some dropped frames as if the pulldown insertion goes wrong. But when I do it with a 29.97 timeline, I dont get any dropped frame, so I was wandering if doing so had an impact on the quality of the video and whatnot.
the footage was shot with a panasonic dvx-100 in 24P advanced mode, it was captured via firewire in dv format with advanced pulldown removal in fina cut pro.
thanks for helping!
Mathieu Gibeault
editor.
http://www.nexzo.com -
3 Replies
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Mathieu,
Yes, you are doing the right thing- if you need a continuous cadence (pulldown, 3:2) in your master. You are also saving 20% of your disk space by working in 23.98 since you’re essentially throwing out 1 of every 5 frames upon capture and removal of pulldown. Even if you don’t need constant cadence, you’re still helping yourself out by editing in 23.98
A lot of the time, dropped frames occur when the hard disk has material that is actually written farther apart on the disk. I would try to render for mixdown before you playback or output a QuickTime in 23.98 and bring it into a new sequence. If you have one continuous file, the likelyhood of dropped frames is less.
Matt Small
Pair of Hands
Sherman Oaks, CA“If it was easy, everyone would do it.”
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Well I always render the whole timeline before an output. I’ve tried pretty much every combination over the last week! Like using different timeline formats, using the original timeline of the edit(which is 30 minutes long), using a quicktime movie, and everytime I tried to output with a 23.98 timeline I had dropped frames but when I use a 29.97 timeline, I don’t get any problem!
anyways! the problem seems solved!
thanks for your fast help!
Mathieu Gibeault
editor.
http://www.nexzo.com -
Just wanted to confirm this is similar to how I worked a project recently.
I do a lot of work where my partner shoots with the Panasonic SDX-900 in 16:9 24Pa (advanced mode). I digitize from an AJ-SD93 deck over firewire with advanced pulldown removal.
I edit in a FCP 23.98 timeline while previewing via my Decklink SP board to an 800-line Sony NTSC monitor. I set the video output to Blackmagic NTSC 8-bit for this.
Recently, some spots I shot and cut at 23.98 needed to be mastered to Betacam SP for some broadcasters who didn’t want DVCPro50. I usually always master my tapes using the ‘Edit to Tape’ feature with an Assemble edit so I can get exact timecode match on my masters and my timelines. Of course I have to pre-stripe a few seconds of ‘roll-back’ room at the head of each tape though.
Anyway, I tried this with my 23.98 master timeline feeding to my NTSC UVW-1800 Betacam SP deck. It worked initially but about 2 minutes into the master it would stop mastering with an error. I think it was finally noticing the codes didn’t match.
Nesting my sequence into a 29.97 timeline and rendering it before mastering solved this problem.
I always wanted to go back and check to see if FCP did the fielded 3:2 pulldown or if it just duplicated whole frames when doing this. I forgot to check.
I know, if FCP can’t do this, that AE could generate the 3:2 pulldown from the 23.98 progressive source…if you wanted to go that route and it was imporant to you.
Carey
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