EXTREMELY URGENT (at least for me)

[Michael Sacci]

Here are the settings that work for me to view 720P/23.98P on a standard TV.

Formats –
Prinary (Native) 720P59.94
Secondary (Converted) 525i29.97
– If you tv isn’t 16:9 set cenversion Down to Letterbox.

Analog Outout
Secondary 525i29.97

In FCP make sure you also have AJA Kona 720P59.94 8 Bit set as the video playback.

[David Eells]

Thank you for asking. Yesterday we were using a BlackMagic card. I don’t why it was changed – I was notified last night.

The monitor is component, not HD. Using 3.4 Kona driver.

[Michael Sacci]

I see that you did state that the tv is a widescreen so the Conversion of the Secondary should be set to Anamorphic (Format Tab)

[David Eells]

You saw, you understood, you solved. Take your place in my Pantheon of Personal Heroes. Say hello to Jeremy while you’re there.

My profound gratitude,
B21

[David Eells]

OK, so I’m capturing BetaSp to my DVCProHD project. Video is coming in, playing on the timeline, and visible in the monitor.

BUT–

the captured video plays back in SLO-MO! So the video is playing back at 29.97, and the Kona is capturing 59.94. This is not quite right.

What am I missing?

[David Eells]

That’s the key

[Bob Zelin]

I feel this guys pain – he has to work, and produce an edited show, but this entire process was not thought out, and handled incorrectly.

Everyone that owns an HD camera wants to shoot in 23.98 (stop saying 24, because some cameras will operate at 24 FPS, and this is WRONG FOR EVERYONE except George Lucas). Almost every modern VTR can do a 2:3 pulldown, to convert to 59.94 – certainly EVERY Panasonic HD VTR ever produced can do this, and all modern Sony models have 2:3 pulldown as an option or come standard. And if you are stuck with the HDW-M2000 or HDW-S280, the AJA FS-1, or Cobalt Digital 8021 will do the hardware pulldown for you. Of course, you can ultimately go into the Playback Settings (or output tool in the AVID) and do your 2:3 pulldown to 59.94.

With that said, I want to address the people that must deal with a 23.98 timeline, or a Universal Master (as made so popular by the AVID Symphony when all of this started to happen). Anyone that has to deal with STANDARD DEF VIDEO like Beta, Digi Beta, and MUST DELIVER A TELEVISION SHOW for broadcast – if you work a 23.98 timeline, you are a moron (saving storage or not). If you have delivery requirements that insist on a 23.98 master (and your footage is primarily Digi Beta or Beta, or other standard def footage), you must CALL THE CHIEF ENGINEER OF THAT CHANNEL, INCLUDING DISCOVERY CHANNEL, and say “are you a moron, we are working with 29.97 footage, and 59.94 footage, you are OUT OF YOUR MINDS for requiring a 23.98 master. The people making these delivery requirements are not the manangement paying for your show. It is your responsibility to FIGHT BACK to stupid delivery requirements – and I know there are plenty of them (like Discoverys insistance of the Dolby 5.1 audio monitor to post a show).
If you do nothing, you will continue to get insane delivery requirements, and have to keep looking for ways to get around things.
Universal Masters is only one of many new things that come from assorted stations around the country, that we must deal with.

I fully appreciate the situation of working with a 23.98 timeline, and then be thrust into standard def 29.97 to be included into this timeline.

Bob Zelin

[Jeremy Garchow]

Bob, in all honesty, you have to get with the times man. They are a changing. I mean no disrepect…none at all. But it ain’t an all 29.97 world and we don’t deliver on 3/4″ anymore. There are plenty of reasons to work in a 23.98 environment that aren’t moronic…plenty. Since HD is newer format and everything in the archival world was not shot in HD @ 23.98 we have to deal with it and use the old stuff with the new stuff. There are tools at our disposal to get this shit done and no one here is moron to have to use them.

Jeremy

[Gary Alan]

I am very confused by this statement made by Budrick21 earlier on this very long thread.

Budrick21
Date: May 12, 2007 at 12:20:24 am
Subject: Re: EXTREMELY URGENT (at least for me)

… “The producers look to me for my technical abilities” …

[Bob Zelin]

I am trying to get with the times Jeremy. If you are working on a product that will be theatrically released, 23.98 is the only way to work. However, when delivering to a television enviornment, which will run their facility at 29.97 (or 59.94), I question the 23.98 workflow in post. I question 23.98 when much of the source material you are working with is standard def 29.97. I question 23.98 workflow, when major cable providers, like VIACOM, won’t even accept an HD master for air (VH-1 and MTV, for example). Believe me, I am trying to get wtih the times – when will 90% of the stations in the US get with the times, however. To torture this poor editor, trying to deliver a product, and force him to work at 23.98, and have him use all these conversion tools, just so he can make his standard def Beta or Digi Beta into a 23.98 workflow, just so it can be converted back to 29.97 for broadcast MAKES NO SENSE. Saying that “you will save room in storage” is not an acceptable answer when storage is so inexpensive these days. Believe me, I am trying to get with the times.

By the way, do you know that Discovery is expected to require a SRW 4:4:4 delivery soon ? Is that getting with the times, or do you fight with them ?

Bob Zelin