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59.94 frame conflicts for film out -workflow?
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Stuart,
If you contact me off list I might be able to hook you up with someone who has just done a series on this camera and may be able to help you with the in’s and outs.
David
Peace and Love 🙂
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Will do this coming week.
Thanks!Stuart Ferreyra
Timecode Multimedia
President
Santa Monica, CA 90025
https://www.timecodemultimedia.com -
[Bob Zelin] “Well, please correct me here Gary, but the Sony JH-3 (for example) does a 2:3 pulldown so you can input your 23.98 footage at 59.94, and the Panasonic AJ-HD1200 and 1400 does the same thing”
But we are not talking about that with this poster.
Shot on JVC GY100 @ 24p -> Ingest: FCP 5.1.2/ Kona Lh 2.0.1, DVCproHD 720p 59.94yes “real hd” decks can do all that you say but this is not the issue here for this poster.
You can extract the 23.98 content from the 59.94 JVC footage from the BR-HD50U when using a RS-422 serial connection (NOT FW).[Bob Zelin] “Why on earth would you want to do the pulldown to 59.94 when you shot on 24, and you need to release on 24. You are getting stepping because you are putting a 59.94 clip into a 23.98 timeline. “
that is the 720 format and it is a progressive format so the stair stepping is something else all together.
– but the post process for filmout is not 24.0 when the camera cannot shoot 24.0 – the JVC camera shoots 59.94 which means that the 24p footage from this camera is ALWAYS going to be 23.98. The 720p format does not live as 23.98 any where but in a computer- the SMPTE standard for a 720p video stream is always 60 fps (at a 59.94 time base in the US)
your mixing apple, apples and oranges Bob, this is 720p HDV content (that cannot do 24.0)
The post production process is normally based as 23.98 because of the audio when doing filmouts- this is a carry over from the offline / online days of transferring 24.0 film content to NTSC where drop frame timecode was needed to be able to make the video tape playback properly.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Stuart
I am speaking at NABNY next week But I will be in LA for HD expo on November 1 & 2, and DV expo later that month if you would like to talk.
gary adcock
Studio37@mac.comgary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Stuart
I am speaking at NABNY next week But I will be in LA for HD expo on November 1 & 2, and DV expo later that month if you would like to talk.
gary adcock
Studio37@mac.comgary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
Stuart
I am speaking at NABNY next week But I will be in LA for HD expo on November 1 & 2, and DV expo later that month if you would like to talk.
gary adcock
Studio37@mac.comgary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
sorry about the multiple posts
browser error ( between the floor and the keyboard)
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
[David Battistella] “(minus the impractical, over priced P2 media)”
We’ve just wrapped shooting a feature on P2. 23 hours of footage, which is archived onto 72 DVD DL disks, at around $1.80 per. And a 2nd set of DVDs for redundancy. Compared to, say, 138,000 feet of film? 36 DVCPro or HDCam Cassettes? And we can edit & create scratch effects shots with our native footage on a laptop, in the field.
No, I don’t think P2 is impractical or overpriced.
Arnie
On location in Moscow for Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Good for you.
But don’t confuse shooting 35mm with what you are shooting. There is a reason most major features are still shot and distributed in 35mm.David
Peace and Love 🙂
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Nope. you could never play a 35mm shot back from a laptop minutes after it’s in the can. I won’t get confused at all! And films won’t be distributed on 35mm in a few more years. They’ll still be shot on 35mm, but distribution will be mainly digital sometime in the next decade. It’s a matter of economics and setting standards.
Arnie
On location in Moscow for Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog
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