EXTREMELY URGENT (at least for me)

[David Eells]

It’s not a great situation, except I love the product. The producers look to me for my technical abilities (!), but we actually have to use the union boys in Production Services. Nice guys, but the clock is always running…(ka-ching!)

As for the 23.98 issue, that was not my decision. The EP likes the look, so that’s the look.

[Walter Biscardi]

[Budrick21] “As for the 23.98 issue, that was not my decision. The EP likes the look, so that’s the look.”

Again, you can get the look, but edit in 59.94. That’s what I do here all the time. Good Eats is shot in 30p for the most part, but we cut the show in 59.94 or 29.97 here.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.

All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html

Read my blog! https://blogs.creativecow.net/WalterBiscardi

[Jeremy Garchow]

I see you are still alive…good thing.

I hear you for cutting in 24p, there’s plenty of good reasons for it. Don’t let Bob scare you.

Check out Nattress Standards converter, or use compressor like Walter said.

And with the blackmagic problem, you have gone into the sys prefs and changed the input to SDI? Did we go over this already?

[David Eells]

Thank you for remembering.

This is a new problem with the same project.

I’m at the mercy of the in-house techs, but now they want to use a different card.

I think I’ve got a handle on it, but I expect to be on the boards this weekend.

See you there!

[Frederic Lumiere]

Actually, that’s not true anymore.

Television (History Channel Family & others) prefers 24p. (d5 23.98) It’s a universal master and makes going to PAL painless in comparison with 29.97.

Another huge advantage of cutting dvcpro hd in 23.98 is space saving. Less than 50% of 60. I know, Panasonic isn’t using repeat flags but stores the full information for each and every frame (even the repeated ones).

In the HD world, 24p is quickly becoming the defacto.

Frederic

[David Smith]

I’m shocked that nobody has addressed the last part of your initial post! After exhausting research, I’ve found that 12 year old Talisker works with both the Blackmagic and AJA codecs, and is frame rate agnostic as well (but only if used straight up).

[Michael Sacci]

We have use Magic Bullet to convert concerts shot DBeta 29.97 to 24P. Also Shake does a great job of this.

My workflow would be Up Convert/Capture at 59.97, Convert to 23.98 and then bring into FCP to edit, no rendering each time you make a change.

[David Eells]

So it’s now Saturday morning and I’m in the room. I’ve captured a test clip of the Beta SP. It looks ok, FCP considers in DVCPro HD, it plays nice on the timeline….

BUT

I can’t get a correct feed to the widescreen (not HD) monitor.
FCP – 720p 23.98 easy setup
KONA CONTROL PANEL – My instructions were to set 720p 23.98 as the Primary format and 525i, 29.97 as the Secondary format. If I select 720p as the Primary, everything in the Secondary dropdown list is disabled except 720p23.98 and 1080sf23.98, and I get a prompt that says “Intermediate only – secondary output format must be selected.’
I don’t get a stable feed to the monitor this way.

If I choose 525i29.97 as Primary and 720p23.98 as secondary, I get a perfectly good 525 picture, but of course it appears squashed because it’s really 720.

Walter, Jeremy, Beuhler, anybody? Beuhler?

[David Battistella]

You can also add pulldown to 29.97 footage when you capture it. If you wanted to capture the betacam footage at 23.98 the Kona card will introduce the pulldown for you. I have done this to mix and match footage in 23.98 projects.

David

[David Battistella]

How were you monitoring it before?

Are you sending the monitor SDI or Component output?

Is it an HD monitor?

Do you have the latest KONA drivers loaded?

David