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Field/Pulldown Issues
Okay, I plead guilty to not being the best at understanding pulldown & frame rates, but I’m wondering if anyone here might shed some light on this issue we’re having…
-Bunch of interviews that were shot with Panny, set for 59.94 DVCProHD, 720p60
-We have a FCP sequence that matched these clips at 59.94 DVCProHD720p60 (960×720)
-We are mixing in b-roll from a previous shoot that is 23.98fps, DVCPro HD 1080i60
-We are also using some SD footage scaled up in FCP that is 720 x 486, 8 bit, 29.97#1: How would you usually handle this situation if ultimately going to broadcast? We started with the interviews, so we stuck with that framerate. I’m not sure that is the best way. Should we rebuild into a ProRez sequence…if so, 23.98 or 29.97?
#2: Is the KONA adding pulldown to only the clips that it sees as 23.98? I have it set to the default 2:3:2:3 pattern now. Is it smart enough to not add it to the clips that already 29.97?
#3: We are having a problem with playback to a brand new SONY 1080P LCD television. It’s almost like a field glitch, like it’s combining fields on the cut point. The weird thing is that we do not see this on our Panasonic LH2600W or on Panasonic Plasmas…only the SONY LCD…which happens to be the CLIENT monitor! Unacceptable to them…as it looks like a glitch on random cut points in the spot.
So, sorry to be ignorant here…we’re used to shooting our own stuff and editing it ourselves. This is one of those ones that we had no control over the footage being shot…
Any help you guys could give would be awesome.
Thanks!
Kevin
Oh, we’re using all the lastest FCP, Kona upgrades on a brand new Intel Mac, 10 gigs RAM with 10.5.5…
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5 Replies
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What format of tape/media are you delivering on?
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We’re actually delivering these spots on Beta, but obviously we want to be working at a format that would be good for HD and downconvert well to DBeta or Beta.
Any thoughts or did I make your head explode? 🙂
Kevin
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Not 100% sure on this one, but I think the Kona adds pulldown based on the type of sequence you’re playing back, and not on a clip by clip basis. i.e. if you edit a 23.98 clip into a 29.97 sequence, Final Cut will render the pulldown, then you’re playing back a 29.97 clip as far as the Kona is concerned. FCP does not do a great job at pulldown, at least not compared to the Kona or a software conversion such as you could do with After Effects or Compressor, but you could edit the 23.98 clips into the timeline and then process them later for better pulldown handling.
I have no idea what’s causing the issues on your client monitor.
When you say you’re “going to broadcast,” specifically what format are you delivering?
Joe Murray
Edit at Joe’s
Charlotte, NC -
Thanks, Joe. That does make sense that the Kona LHe cannot add it on a clip by clip basis, but rather the sequence. This is frustrating and you’re probably right…I probably need to take individual clips out and render them out in something other than FCP. It’s just so ugly seeing little field glitches even when rough cutting. The client is not going to understand…
These spots are broadcasting from beta, but obviously the final needs to be of high enough quality to go to Dbeta or even an HD output.
Thanks. Anyone else have any thoughts on this puddle of framerates?
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Sorry, overlooked your reponse about mastering format. Usually, I choose to edit with whatever format I have the most of, and capture the rest via the Kona to that format. If it’s tapeless and can’t use the Kona to capture, I transcode only what’s needed, at the end of the edit. I also tend to stay HD as long as possible, unless we’re doing complex graphics or effects work for 4:3 delivery.
Joe Murray
Edit at Joe’s
Charlotte, NC
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