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Avid’s role in the reverse telecine process
Got an indie digi-film. Shot 720p @ 59.94 fps in DVC-ProHD with the Panny 900. Edited on Avid Adrenaline HD and (will eventually be) mastered onto DVCProHD in 720p @ 59.94.
Q:
What’s the process from this point to transfer it to 35mm film? Is it the same age-old reverse telecine? Or are there additional/better methods given that it is 720p?I’m still off-lining it, so even if part of the process can be Avid-based then there is still time. Mosify the sequence and re-batch digitize it in a 720p 24fps project? I dunno.
Thanks soooo much for ANY insights!
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\`(=)`/…Pixel Monkey
`(___)A picture says 1000 words. Editors give them meaning.
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3 Replies
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The correct way to do these projects is to run the camera in 24-frame mode, which still records 720/59.94P but flags the frames necessary for 24-frame playback in metadata. Then Avid DS or Final Cut Pro will throw away the unneeded frames during capture to a 23.98 sequence. (Avid Nitris, XpressProHD and Adrenaline do not have this capability.)
If the camera was not run in 24P mode, then you can convert your finished video to 23.98P in an HD standards converter, but it is a nasty conversion that will most likely produce some motion judder due to the loss of temporal resolution.
If you need help with this at some point, I do this type of conversion and prep work for motion picture film recording.
Bill Stephan
Senior Editor/DVD Author
USA Studios
New York City -
You are incorrect.
Avid Symphony, Adrenaline and Xpress Pro can all remove standard pulldown off a 720/59.94 stream.
Symphony can do this via HD-SDI off from 1200 or 1400 deck. Use 720/23.976p project type.
Adrenaline can do this the same way. Use 720/23.976p project type.
Xpress Pro can do it via firewire or any other standard SD interface (SDI, CV, etc). You can do it in 720/23.976p as long as you capture via firewire. Just activate the VFR in the Capture tool
https://24p.com/VFR.htmAlso, Xpress Pro and Adrenaline are the only NLE apps in the market that can remova standard pulldown off 30i stream during capture. All others, including FCP, must add an aditional step post capture.
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mpe,
Thank you for posting the referrence to the article on 24P.com. This is indeed interesting information, as we installed a new Avid Symphony Nitris only a few months ago, and that system absolutely does not support Varicam metadata in 720/23.976P projects. The Avid dealer put us in contact with Avid technical people in Tewksbury who swore that this capability would exist only in DS Nitris and in software-only Media Composer. We came very close to not acquiring the Symphony Nitris system because of this.
Their solution was that we should spend another $5,000 for a copy of Media Composer to capture Varicam media for the Nitris. I think Avid was a bit upset at my solution to this problem. We run Varicam footage through the Final Cut Pro system in the next room to do the frame rate conversion and then edit on the Nitris.
Hopefully, Avid will include this capability in Symphony Nitris 1.7.
Bill Stephan
Senior Editor/DVD Author
USA Studios
New York City
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