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Nightmare job scenario. How would you take this on?
Just got this email from a producer:
“I want you to come in because its almost the same workflow as **** – we are shooting on the HDX900 on DVCPRO HD tapes for all of our field media – but then we are shooting interviews on the 5D. The Audio for the interviews is going to be shot on the HDX900 as well – so just the audio needs to be imported from the interview DVCPRO HD tapes and sunk with the 5D footage.
We need to deliver the show at 1080i 59.94 and are shooting 1080/24p.
HELLPPPP!”
So I’m going to work in a 1080i 59.94 project because that’s obviously how I have to deliver. Will Avid allow me to being the 24p footage in? When I do bring it in, what kind of pulldown should I use? Once the pulldown is on is that it? Or will I need to export and bring it back in, etc? I wanted to offline in DNX36. When I try to uprez back to the original files, is the pulldown affected at all? Will I even be able to get back to them?
I haven’t accepted the job yet (and I don’t think I will). It sounds like a nightmare. But how would you tackle this. This sounds like all kinds of . Will a whole mirrored set of 1080i 59.94 media have to be made out of the 24p stuff before we even start to transcode for the offline? Any insight would be amazing.
Thanks
Willl
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1 Reply
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Yes, if you’re shooting 23.976 fps, you will need to apply 2:3 pulldown to get to 29.97 (59.94).
To my knowledge you cannot offline at DNxHD 36 in an interlaced project. This isn’t that complicated of a workflow. Just make sure you capture at whatever offline res you’d like, and then also ingest/transcode to that same format. Make sure you have everything backed up.
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