EXTREMELY URGENT (at least for me)

[Chris Poisson]

Walter,

How does 59.94 take care of both frame rates? I can’t figure out the math…

[Graeme Nattress]

What if the broadcaster has a requirement (as they should) for any 24p material to have a constant 3:2 pulldown cadence? This is vital for anyone watching on a modern flat display as otherwise you’ll probably get a blip on each edit while the pulldown remove circuit in the display tries to figure out what’s happening to the 3:2 pattern every few seconds as you cut, cut cut.

Graeme

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[Accountneedsrealnameupdate]

Sorry Bob but I also have to agree with Jeremy and Gary and do not appreciate being called a moron for working at 23.98 fps instead of 29.97, please tell me why I would have the deck insert pulldown during capture when I could capture progressive 23.98, work at that framerate and then insert pulldown if necessary on the fly during output if I want it?
I think you’d be surprised at how practical the universal master workflow is too, we deliver pal and ntsc as well as HD and working at 23.98 is great for us.
True most of our source material comes from feature films but I’m not going to attempt to persuade every DP, director and client in the world that 23.98 is for morons, that’s what they want and dammit that’s what they’ll get.

Glennser

PS can you explain your workflow for delivering PAL and ntsc from 59.94 source material? Once you break the cadence removing pulldown is a real pain and shooting at 59.94 is never going to look good at 25fps

[Jjbriquet]

Rigth on Graeme, that would be a nightmare for people editing 24p material with added pull down on ingest…

[Gary Adcock]

[Graeme Nattress] “What if the broadcaster has a requirement (as they should) for any 24p material to have a constant 3:2 pulldown cadence?”

Gman

there is not a delivery spec for OTA broadcast for 24p, (yet), and the only 24p that is supported for delivery does not have pulldown ( 1080 24PsF)

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Gary Adcock]

[glennser] “PS can you explain your workflow for delivering PAL and ntsc from 59.94 source material? Once you break the cadence removing pulldown is a real pain and shooting at 59.94 is never going to look good at 25fps”

how true.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Katie Gates]

Hi, all. Reading this lengthy thread gave me knots in my stomache. I probably qualify somewhere in between the AVID editor Budrick21 was working with and a wannabe Budrick21. I have worked blissfully on AVID as a preditor for years. Always 29.97, always SD, and in a system set up by technician.

But as the migration in formats was coming about, I moved to a small facility where I serve as the technician, editor, and coffee maker–and I also edit on-site for some clients. I am trying to migrate into FCP, and HD (naturally). I understand how to do a cut, a dissolve and a whatever, but I don’t know what I DON’T know–the technical stuff, and it’s killing me. What would this esteemed group’s recommendation be for a dummies guide (or a class) to the technical world of kona cards, 24p, downconverting, etc. something that will get me over my ignorance hump, and allow me to understand if my problem is I/O error (Ignorant Operator) or a technical shortcoming, and what to do to address it.

Thanks!

[Graeme Nattress]

I’m talking about how all 24p gets broadcast, as 29.97fps with 3:2 pulldown. That pulldown cadence needs to be constant or else you upset people with flat screens or video projectors. Best way to achieve that is to edit as 24p and add the 3:2 on way out to tape, and then it’s totally constant. You know what I mean!

– http://www.nattress.com – Film Effects and Standards Conversion for FCP

[David Eells]

kenstone.net has lots of good info. I don’t know of a Dummies Guide to Everything. There are so many combinations of hardware and software, I think it’s all about problem solving and knowing where to go for help (like here.) People talk about HD, but there’s more than one flavor. I was using DCVPRO HD 24p, and was mixing that with SD 480i. Supposedly in FCP 6 you can mix and match on the timeline, but I didn’t have that option.

The cow has saved my butt more than once.

Thanks, Cow!

[Jeremy Garchow]

[ktofmd] “What would this esteemed group’s recommendation be for a dummies guide (or a class) to the technical world of kona cards, 24p, downconverting, etc. something that will get me over my ignorance hump, and allow me to understand if my problem is I/O error (Ignorant Operator) or a technical shortcoming, and what to do to address it.”

YOu have a lot of the resources you need at the Cow. Search when you have problems, post if you can’t find the answer. It’s situations like yours that places like the cow excel. Reading manuals never hurts either.

Jeremy