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HDCAM 1080p 23.98 layoff
Sorry – this is a long one – I am new to editing HD as is about to become quite clear.
I have a completed show in a 1080i 29.97 DVCPRO HD sequence that I need to deliver to a posthouse for layoff on HDCAM 1080p at 23.98. It’s got a bunch of stills and some old SD footage in it, but the bulk of the footage was shot on a panasonic HVX 200 at 1080i24p. I don’t have a HD monitor so I am watching everything through a Kona LH card downcovert to an SD monitor. Also – I never removed the pulldown from the 24p footage so it’s all playing at 29.97 right now.
The posthouse that is doing the layoff seemed confident that if I just copy and paste the media from the sequence into a new DVCPRO HD 1080p 23.98 sequence and export a self-contained movie from that, it will deliver fine. However when i tried that the clips ending up getting pushed apart and the whole timeline turned into a mess.
So I tried just exporting the original 29.97 1080i sequence as a self contained and laid that into a 1080p 23.98 sequence. it plays back on the SD monitor a little bit jittery – but in the canvas it looks fine. Is the jitteriness only due to the fact that it’s a progressive scan project playing on a SD monitor or does it mean this approach doesn’t work.
Do I need to remove pull down from all the clips and recreate my edit in a 23.98 1080p sequence? Any other advice?
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6 Replies
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[edisonfleck] “Do I need to remove pull down from all the clips and recreate my edit in a 23.98 1080p sequence? Any other advice?”
Yes.
You cannot drop 30i footage with 3:2 pulldown into a 24p timeline & expect it to magically work. Each shot in your timeline is probably starting at a different place in the 3:2 cadence. There’s no software on earth that can automagically detect where the cadence is on each shot & convert them to 24p.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
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that’s the bad news i was expecting – so I will remove the pull down.
however – do i need to worry about the 29.97 SD footage in the show? or does that get converted because it was never 24p to begin with?
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This goes to show the importance of knowing what format you will be delivering and adjusting your workflow BEFORE you start editing, or even shooting.
Yup, try the Nattress Standards Converter (www.nattress.com), there is a demo. If that doesn’t give you good results, then you might consider upconverting the SD in better ways. Capturing with a Kona 3 is one way. Building an SD select reel, outputting that to Beta or Digibeta, then having that converted at a post facility with a Terranex box. That is what we did with a documentary that was shot DVCPRO HD 720p 23.98, but incorporated a LOT of SD footage of varying rates…Pal VHS, DV, BetaSP, PAL BetaSP.
Shane
Littlefrog PostGETTING ORGANIZED WITH FINAL CUT PRO DVD now for sale!
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We’ve also used shake for this and had great results. But if you’re not familiar with shake, you need some time to learn what you’re doing.
We also use the Nattress plugins and they work as well. I really like his smart deinterlace filter for this type of stuff.
-Russ
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[Arniepix] “There’s no software on earth that can automagically detect where the cadence is on each shot & convert them to 24p.”
Actually there is. Google “JES Deinterlace”. It’s the most amazing thing I’ve ever used. And it’s free.
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Thanks for all the help. As it turns out the network changed their delivery specs because of all the SD footage that has to be in the project.
I guess I’d rather be lucky than good – but at least now I’ve been scared straight on 24 workflow.
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