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Editing True 24p finishing for broadcast?
We have true 24p footage, not 23.976 and we are editing in FCP 1920×1080 24p as well. We need to deliver digitally to our dub house at either 23.976 or 29.97. My question is, is it better to convert the 24p material to 23.98 and then add the pulldown for later conversion to 29.97 or convert the 24p material straight to 29.97?
What is the best method for doing a standards conversion like this? Would sending to a facility to do a hardware conversion be the best option rather than having FCP, Compressor or After Effects do the software conversion? Or is this something simple to handle with either of the former?
Also, these TV spots have GFX being done in AE and done at 24p, so we’ll drop them in our sequence to create the master 24p file. The same for our audio dept., they will be working in 24p and giving us the final mix at for 24p. The reason I say this is because, will the GFX and audio hold up to the standards conversion without the GFX looking funny or the audio having and sync drift?
I know normal pulldown in Compressor or AE hasn’t effected either before, but that was also 23.98 material, not 24p.
Any help is greatly appreciated.
Normally, we prob would have converted everything up front to 23.98 but this was not an option because external audio was recorded at 24p, and there was a ton of footage and audio to sync. So rather than take any chances, we decided to edit in true 24p.
OS 10.6.7, Mac Pro 2 x 3 ghz quad-core intel xenon, 4 gb ram and AJA IoHD
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6 Replies
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Convert to 23.98. HOW? Hmmmm…never had to do that. I would think that exporting the true 24 file than CONFORMING with Cinema Tools might be an option, but that only says “24,” and while it converts 60 to 23.98…not sure what it’d do with 24 straight up. Compressor maybe?
And then the dub house can convert 23.98 to 29.97 via hardware when they output.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Cinema tools will rate change 24 to 23.976. The audio will no longer be sampled at 48khz however.
Online Editor | Colorist | Post Super | VFX Artist | BD Author
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You can use Cinema Tools as stated.
To get around the audio sampling rate problem, you can export the audio via Quicktime Pro as a 48k AIFF, and marry it back to the video in FCP (in a 23.98 timeline). Then export a Quicktime same as source.
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Thanks everyone. I think we’re going to run some tests. I’ll try Cimena Tools but isn’t that going to change the speed too. And will that speed change be noticeable/detectable to the eye?
As far as audio, since we’re having our in-house audio dept. do the mix, should they take our OMF at 24p in ProTools and then spit out a file for us at 23.98. Meanwhile, we can conform the 24p to 23.98 then bring back both elements into FCP and marry them back into a new 23.98 sequence and make our master from that. Does that sound right? Or should the conversion be done with both video and audio 1 file?
OS 10.6.7, Mac Pro 2 x 3 ghz quad-core intel xenon, 4 gb ram and AJA IoHD
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[Matt Campbell] “Thanks everyone. I think we’re going to run some tests. I’ll try Cimena Tools but isn’t that going to change the speed too. And will that speed change be noticeable/detectable to the eye?”
24 to 23.98 conform in Cinema Tools will slow the footage 0.1%. It won’t be noticeable but if the duration of the show must be exact a frame or two might have to be chopped off here or there.
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So I think our plan is to send this out to a facility that will use their Alchemist hardware converter. Even when this is done, will the spot still be the same length. I.E. with broadcast being 29.97 or 59.94 Interlaced fields, will the spot be 29 seconds & 29 frame long? Or will that have to be adjusted by shaving frames? I think we’ll just need to QC it when we get the conversion back.
OS 10.6.7, Mac Pro 2 x 3 ghz quad-core intel xenon, 4 gb ram and AJA IoHD
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