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59.94 to 23.98 VARICAM + 1200a + FCP + HDCAM=NIGHTMARE
Here it goes. Another we should of…but now we have this question?
We have a feature shot on Varicam (23.98). When the assistant (no longer with us–you’ll see why) logged and captured
the footage on the set, it was DV NTSC 29.97 (interlaced). Our editor who came on afterwards cut the entire feature at
at 29.97. It wasn’t until our new assistant came in, media managed at 59.94, then brought back in the footage (via 1200a)
at 720p 59.94.Of course the audio is being worked on at 29.97 as we sit. We have a 59.94 timeline—uncompressed 8bit, via Kona 2 with raids.
It is running and looking great. We need to color correct (divinci) and out put it to HDCAM 24p. Also an internation copy on Digibeta/HDCAM PAL.We threw it in a 23.98 timeline and rendered only to find some clips were effected, causing a wierd motion look. We checked and found if we recapture at 23.98 (just those clips) they would work. Of course the cadence is off…the cuts are a bit off…and the sound sync floats.
Someone told us to keep it at 59.94, use our 1200a as a layback ( 2 tapes of course) and then assemble it on a HDCAM at 60i. Then we loose progression (it’s okay–straight to DVD/TV–no film output) but we were told that going HDCAM PAL is a nightmare unless it is at 24p.
Anyone have a work around for us? Should we leave it at 59.94 use a Terranex for PAL? or rebatch at 23.98 and get another headache.
Any help or workflow or experience would be helpful.
Thanks
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3 Replies
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Fatkid,
The elegance of the Varicam/1200A/firewire/FCP system is that you can edit in native High Definition with simple inexpensive drives; any effort to short cut this workflow, as you’ve done in this case “by logging and capturing” on the set will come back to bite you as you now well know.
Others should take note of the trouble that Fatkid is having making everything work now that post is all screwed-up and be well advised to follow what is now a well proven and traditional workflow, namely digitizing with the 1200A (or new 1400) VTR to FCP in the DVCPRO100 codec (either by Firewire or HD-SDI through a capture card like the Kona).
I’ll bet that Fatkid’s improvised work flow was meant to circumvent renting a deck, in order to save a few dollars. It’s unfortunate to have to learn by mistakes, but these are usually very valued lessons!
JS
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John
We own the 1200a. But thanks for the insight. Does anyone have an actual answer on this.
FATKID
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Well, the “best” way I know of to do this would be the following:
1. Convert the 30 frame EDL to a 24 frame EDL using Cinema Tools, or supply the 30 frame EDL directly. Also export the final sound as either an AIF or WAV file.
2. Either take it to a facility that has a 1200 machine with an HD-SDI card, or install one in yours.
3. Feed 24 frame trilevel sync to the 1200 machine.
4. Set up the machine to play back the 720/24 in 60 directly as 1080p/23.98. This will cross-convert the video to that format, and also play back the timecode at that rate as well.
5. Load everything into either a Final Cut or other system.
6. Cross-convert your 30 frame offline cut to 24 frame using either a standards converter or by rendering, even if the frames occasionally skip.
7. Using the cross-converted cut and the exported sound track as a reference, confirm the online conform on a shot by shot basis, matching action and letting some of the cuts slip one frame, as they will.
8. Play the resulting 1080/24p version out to HDCam.Needless to say, these steps are not necessarily in the category of do-it-yourself. But then again, as you’ve already learned, when you try to do things yourself, you often run into problems that can’t easily be fixed. That’s why it’s sometimes smart to involve professional facilities who have done all of this before, and are equipped to do it efficiently.
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