29.97 to 23.97 HD confirm

[Shane Ross]

Export a 29.97 EDL. Use cinema tools to convert the EDL to 23.98. Import that EDL into a new 23.98 project, batch capture.

[Ronen]

thank you for the fast respond.
what will happend to the superimpositions and keyframs? will they transfer
too?

[Shane Ross]

They should. Speed ramps might have to be re-created, but other things should transfer. I edited a short film shot on film, telecined to D5, downconverted to DVCAM, edited 29.97 (should have reverse telecined and edited 23.98), did the EDL convert and onlined the D5 at 23.98. The only thing that didn’t transfer were the two speed ramps.

[Annaël Beauchemin]

[Shane Ross] “They should. Speed ramps might have to be re-created, but other things should transfer. I edited a short film shot on film, telecined to D5, downconverted to DVCAM, edited 29.97 (should have reverse telecined and edited 23.98), did the EDL convert and onlined the D5 at 23.98. The only thing that didn’t transfer were the two speed ramps.”

Did the D5 had 29.97 timecode? If so, I’m not sure you should have reverse telecined the clips. Last time I did something like this (I had reversed telecined the clips by error, but this is another story…), the EDL was totaly screwed on the Symphony. I guess it was because Symphony was expecting 29.97 source TC. The Cinema Tools 23.98 to 29.97 TC conversion did not work any better in that case.

What I learned from this is to always work with the same TC rate as the master tape. If the master is 23.98 and the DV offline is (of course) 29.97, then it’s better to reverse telecine in FCP. But even if the source is told to be “24p” , very often it’s 23.98 *plus* pulldown (29.97). This is true with DV, but also with XDCAM… In that case you *must* work in 29.97, because this is the TC the tape has on it.

I know this all sounds obvious, but I’m sure i’m not the only one who was fooled by pulldown added 23.98 material…

[Annaël Beauchemin]

[ronen] “what will happend to the superimpositions and keyframs? will they transfer
too?”

You must export a separate EDL for each video track. You do this by switching the track target and enabling “Target video track only”.

Dissolves should transfer. Speed changes probably won’t since you’re converting the timecode rate. No filter will transfer, but they can be printed as comments. Not sure what kind of keyframes you’re talking about (filter? opacity? audio levels?), but they won’t.

[Shane Ross]

[Le Coyote] “id the D5 had 29.97 timecode?”

No. It was running at 23.98. I conferred with the original post house and they said edit at 29.97 then convert the EDL…I asked for verification, and they said do it. So I did. Then we ended up going to another post facility to finish and they asked why I didn’t work at 23.98. Well, because the first place insisted that I work 29.97. So I had to convert the EDL in cinema tools.

I agree. Work offline at the same frame rate as the master footage.