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DVCPROHD to NTSC is killing me…
The workflow I used a couple of weeks ago doesn
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3 Replies
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Dave,
You could be right, but my understanding is that because all the frames are there, one can capture them all, if so desired, even if the footage was shot as 24p. In order to test this out, I suppose I should reinterpret the footage as 23.98 in AE, then drop it into a D1 comp and see how it renders out.
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dave’s right, if you want to work in 24p, stay 24p throughout, right up to dilivery… if you had to shoot 24p to tape, remove the pulldown at capture or right after, and try to capture each shot individually (it will make removing the pulldown easier).
if the destination is broadcast, you might also try 30p… it’s the benefits of progressive at broadcast frames rates… it’s still filmy, but you’ll never have to add (or remove) a pulldown.
sorry if i’m starting to sound preechy, but i’ve been dealing with bad 24p footage for a few weeks…. and i’m really trying to start a new movement.
’30p… it’s the new italian’ (i’m not sure what that means, i’m a bit punchy)
Kevin Camp
Designer – KCPQ, KMYQ & KRCW -
Dave,
This is all great information… I’ts too bad the the deck was rented and the spot needs to be done on Monday! It looks like I’ll be pulling the footage from the Digibeta downconverts for this one–and the next 12 ads. It’s a crying shame… the HD stuff looks so gorgeous. I’ll be printing this thread for future reference, though. I hate interlacing. Next time they ask me what framerate to shoot, I’m going for 30p.
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