DVCPROHD workflow… am I approaching this right?

[Jeremy Garchow]

I am always a fan of editing @ 23.98. Some people will tell you not to do it, others will. There are many good reasons and some bad reasons. The main bad reason is that you will have to figure out drop frame timing for broadcast from a 720p23.98 NDF timeline. You’d have to do that with 720p 59.94 anyway as FCP doesn’t allow DF timelines for 720p.

Now, that aside, working @ 23.98 is great for me, especially for keying. If you keep everything @ 60, that means around 60% of your timeline is made up of duplicated frames. To me, that’s a lot of useless information for keying. Now as far as the pans go, that you are stuck with. Even if you remove the pulldown, the motion blur will stay the same in the footage, you will just have to apply to 60% less frames which could make your keying a bit faster. When the footage gets played back to tape, the pulldown will be put back in bringing your footage back to 59.94.

Jeremy

[Shane Ross]

If you shot 720p24, why did you capture at 59.94? The camera has flagged the footage as 23.98, and if you captured via firewire (or if you captured via the Kona using the 23.98 setting) it would have removed the redundant frames and you’d be working at 23.98. Then, when done, you output to 29.97, and the Kona card would perform the proper frame conversion to get you to 29.97.

Yeah, the big drawback to 23.98…well, 720p in general, is the NDF timelines. There are ways to figure out timings, but still, why FCP cannot have a DF timeline when the format allows for it is beyond me.

I think you made a mistake capturing at 59.94….but I am not sure how to fix that. Other than to recapture at 23.98 and re-edit.

Shane

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[Jeremy Garchow]

[Shane Ross] “but I am not sure how to fix that. Other than to recapture at 23.98 and re-edit.
“

I would imagine you could media manage the project, recapture @ 23.98. Open a new 23.98 sequence and copy/paste the 59.94 sequence into the 23.98 sequence. Some cut points might shift, but it’d be worth a try. The timecode is all 29.97 based so it’s not as hard as you’d think.

Jeremy

[Walter Biscardi]

[Shane Ross] ”
I think you made a mistake capturing at 59.94….but I am not sure how to fix that. Other than to recapture at 23.98 and re-edit.”

Honestly I’ve done this both ways, capture at 23.98 and capture at 59.94. Really haven’t seen a difference in the workflow and since all our work goes back to 1080i/29.97, really didn’t see any reason to work in 24p.

So if you captured 59.94, no reason to chuck the project and recapture at 23.98. Just finish in 59.94, understanding that it’s NDF not DF.

Of course Apple can’t give us DF timecode in 720p because……. well I have no earthly idea why and nobody at Apple has ever given me a satisfactory answer on that one. Apparently the good folks at Panasonic know some secret voodoo that mysteriously allows all of their equipment to shoot and record in 720 DF timecode.

So we now convert all our 720p to 1080i/29.97 during ingest via the Kona 3.

Walter Biscardi, Jr.
https://www.biscardicreative.com

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