Apple Pro Res 422 HQ 30p Timeline to HDCAM 59.94 Dolby E

[Shane Ross]

[Alejandro Alvaro] “Full Mix in channels 1&2, and SAP or Dolby E in channels 3&4. How do i do that? How do they fit in just 2 channels? “

They should be encoded files. The Dolby E files need to be encoded by a post audio house with the proper encoders. When done right, you will get files that just sound like very loud static or just noise. It will peak above 0. But, the decoders on the other end will decode properly. I just delivered 8 hours of programming with this deliverable. Stereo on 1&2, Mix minus VO on 3&4, then Dolby E on 5&6.

[Alejandro Alvaro] “When I drop the a3c 5.1 file in the timeline, 6 channels are created, containing the 6 5.1 channels. How do they fit in just 2 channels?”

That might be a 5.1 mix, but it doesn’t sound like it has been encoded to DOlby E. Again, this has to be done by special encoders.

[Alejandro Alvaro] “I figured that may be there is a piece of software missing. Or this is made on the fly by the card or the deck? “

Combination of hardware and software. WHAT? I don’t know. The post audio place gives me files…

[Alejandro Alvaro] “I need to output this into an HDCAM tape, at 59.94 frame rate,”

That part is simple enough. You already have 1080i 29.97 footage, so it will output to 1080i 59.94 (that runs at 29.97) just fine.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
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[Alejandro Alvaro]

Thanks for your post, Shane. I was searching the web for more info, and I find this pdf at https://www.dolby.com/uploadedFiles/zz-_Shared_Assets/English_PDFs/Professional/47_Post_it_with_E.pdf, where they explain the process of encoding Dolby E. A DP571 Dolby E encoder is needed to encode the audio signal into the HDCAM tape, and I figured that with this hardware, the encoding process is made on the fly. Then, the Broadcaster needs another hardware, the DP572 Dolby E Decoder to decode the two AES audio par into a two digital channel audio one one side, and 5.1 channel digital audio on the other.
I have to find a facility with this hardware first, but I’m still having some questions about the proper way to prepare my timeline for this purpose. Do I have to render the video first from 29.97 XDCAM EX or Apple PRo Res 422(HQ) to 59.94 XDCAM HD or this is made on the fly by the HDCAM deck? Do I have to place in the timeline 8 channels of audio (on channels 1&2, the aiff L&R, and on channels 3 to 8 the 5.1 a3c file), or first the audio post facility needs to encode the 5.1 a3c file into a 2 channel Dolby E file, and then I drop just 4 audio channels in the FCP timeline (channels 1-2 with a L&R, and 3-4 with the Dolby E encoded)? If the last is correct, how do FCP address the fact that the first two channels are audio and the second 2 are data?
Sorry If I’m missing something, but even with the pdf from Dolby, I’m still confused with this.
Thanks again.

Alejandro Alvaro
Producer/ Director
Blur Filmes
http://www.blurfilmes.com