best way from 720/24p to 1080/60

[Russell Lasson]

[rogerdat] “or… Is there a better way?”

Yes, a Kona 3 card will convert it to 1080i on output.

Other wise I would edit at 24P and then upconvert it to 1080/24P. Then use Nattress Standards Converter to add a 2:3 pulldown to get to 29.97.

-Russ

[Rogerdat]

Thanks Russ.

I wonder why FCP or the camera won’t add the pulldown on capture so that I can edit 29.97 and save the trouble?

Also, it’s important to finalize my mix at 29.97 right? So I should apply the natress pulldown on the cut before sending my audio off, then upconvert.

Does that make the most sense?

Thanks again.

[Shane Ross]

Edit 720p24….at 23.98. Then do what Russel said and output with a Kona 3. I have done this more than a few times…works great.

[rogerdat] “Also, it’s important to finalize my mix at 29.97 right? So I should apply the natress pulldown on the cut before sending my audio off, then upconvert.”

No…mix at 23.98. SO it syncs with what you are cutting. It will convert properly as will picture wen you output. And no need for Nattress.

Shane

Littlefrog Post
http://www.lfhd.net

[Rogerdat]

The Kona 3 won’t work for me because I am doing a TV show that is cut to network clock at 29.97. That means all the intro, bumps, slates, all have to accuratley correspond to a 29.97 clock in the timeline before outputting.

I need to finalize the show on a 29.97 timeline. Natress is the only way in this case right?

Apply the pulldown and mix to the 29.97 picture or mix to the 23.98 picture and then apply the pulldown?

[Shane Ross]

I cut TV shows that require precise timing too. Output to HDCAM NDF, dub to Digitbeta 29.97 for air. I do have to do a bit of figuring when it comes to making sure that when i output NDF, when it is dubbed to digi DF, it comes out to the right time.

Or is this for a network like Discovery that needs precise timing after Acts end and commercial breaks begin…like the commercial needs to hit right on the 00 frame?

Shane

Littlefrog Post
http://www.lfhd.net

[Rogerdat]

Yeah, this is for Discovery who require exact act break edit points at 00 as well as accurate timecode markers for “snap ins” which is extra footage added in for the european/asian markets.

I can’t have anything off network clock by even a field. That is why I need all final shows on a 29.97 timeline before outputting.

Is Nattress my only real option?

Can’t I ingest the 24p footage as 29.97, letting FCP or the camera add the pulldown and cut 29.97? This goes against everything I’ve read though…

Anyone else have this particular problem?

[Gary Adcock]

[rogerdat] “The Kona 3 won’t work for me because I am doing a TV show that is cut to network clock at 29.97. That means all the intro, bumps, slates, all have to accuratley correspond to a 29.97 clock in the timeline before outputting”

Kona cards are used at literally hundreds of TV stations to do this very thing. Shane. walter and myself all use our Kona cards to cut to network standards constantly.

that HD 59.94 timebase is the same as an SD 29.97

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Gary Adcock]

[rogerdat] ” letting FCP or the camera add the pulldown “

go right ahead and have the content rejected because FCP does not properly add pulldown.

“Anyone else have this particular problem?”

no, and we all cut to broadcast masters constantly on the same system you said could not do it.
You are not seeing that 29.97 frames is really 60 fields

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Rogerdat]

so what are you suggesting gary? output to tape at 29.97 (or 59.94) via the Kona card and then re-capture into a 29.97 timeline?

be specific please…

[Gary Adcock]

[rogerdat] “be specific please… “

everyone has
Shane told you what to watch out for
https://forums.creativecow.net/readpost/8/943370?

I never said anything about recapturing anything- NONE of us to it that way, we all work at 720p24 on kona cards and output directly to 1080i60 as long as you account for the DF/ NDF issue.

Ever look to see that your TC settings for that 720p24 timeline are actually 29.97 in the Capture> device control settings?

or that 29.97 frames x 2 (the number of interlaced fields) is 59.94?

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows