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HD to DVCam Final Cut workflow
Hi all… wondering if I could get some quick expert advice. I’m cutting a short that was shot on HD (I think on an F900) at 24P and then downconverted to DVCam @ 30 non-drop for the offline edit. Now, my question is, should I be capturing these tapes at 23.98 or 29.97? And, keeping in mind that I’m eventually going to have to up-rez from the HD masters, should I be cutting in a 23.98 timeline?
my options as I see it are made up of the following combinations:
capture at 23.98, cut in 23.98 timeline
capture at 23.98, cut in 29.97 timeline (probably not the right way to go)
capture at 29.97, cut in 23.98 timeline
capture at 29.97, cut in 29.97 timelineany suggestions would be inifintely appreciated…
thanks so much
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5 Replies
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If your master tapes are 23.98, then it would be advisable to reverse telecine your DVCAM footage and edit in a 23.98 timeline.
Shane
Littlefrog Post
http://www.lfhd.net -
that would be a Cinema Tools thing huh?
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In the future I would suggest you simply capture the HD material through an AJA Kona board to DVCPro HD in the matching frame rate. This gives you the smaller files like DV but with exact matching timecode as the original HD tapes.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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The first MOW I did that was shot HDCAM24p, we downconverted to DVCAM 29.97 NDF and logged and captured (A-frame), reverse telecined all footage in Cinema Tools and edited in a 23.98 timeline. A bit of a hassle outputting viewing copies and you essentially double your media storage requirements.
Since then – I didn’t reverse telecine andf just cut in 29.97 NDF timeline (dropped sequence in a 29.97 DF timeline to calculate and check program durations), and coverted the 29,97NDF EDL to 24p for HD on-line. Have had no problems whatsoever. Have done 5 MOW and over 45 episodes of TV series this way.
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