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59.94 to 23.976
OK. (deep breath) excuse me if i go into a lot of detail here…
The show was shot on Panasonic aj hdx900 cameras at 720p59.94
It was onlined with Final Cut at 720p59.94
When I look at the online project in FCP i see 60 distinct frames per second.
It was mastered onto a panasonic aj HD 1400 deck. When I roll the tape in the deck, I see the counter saying that there are 30 frames per second, but when I recapture material from the master and put it on a 60p sequence and step through it I see 60 distinct frames per second.
It was then transfered to HD cam at 1080i59.94 for North American delivery.
Ok. Now there is a distributor coming on board. They want masters at 24 (by this I assume they mean 23.976) for international delivery.
Questions:
Would it be better to convert the 59.94 masters to 23.976 or just go straight to 50i for europe? Can that even be done?
I tried to do the conversion in compressor but the result is slow motion video. I then tried to export the program and just put it on a 23.976 sequence in final cut and rendered. It looks pretty good. There are some small motion artifacts when cars move fast through the frame but I find it ok. But let’s say I master that to tape. They distributor will take that and try to pull both 59.94i and 50i masters off of it. Let’s say it works ok for the 25… it can’t possibly look ok when converted back to 59.976… perhaps we are better off just going right to 50i with a good transcoding?
The distributor is kind of taking the line “we only want 24.. that’s all”. this person is not technical. I tried to explain that for the deliveries in north america there is no point converting the 60 to 24 (forgive me for rounding the frame rates from here on.. fingers getting tired) and back to 60.. that is silly. “we only want 24”.. I guess I could supply them two sets of masters.. one at 60i and a transcoded set at 50i. “we only want 24”.
IS there any way to convert the 60p to a clean 24 that would dub well to either 60i or 50i ..
Any suggestions?
jason