preparing HD master in 59.94 . . .

[Walter Biscardi]

[Hubble128] “Is it just a given that ANY 59.94 sequence will be drop-frame? If not, how do I ensure that timecodes will match up when I get the DVCPRO master transferred to D5 for delivery to the network?”

All the DVCPro HD Sequences in FCP are Non-Drop Frame. A 1200A will record in Drop Frame. You need to make small adjustments to the start time in your timeline to ensure that your show starts straight up at the right timecode on the master.

Or you can actually edit directly from your Non-Drop timeline to a Drop Frame D5 or HDCAM and you’ll hit right on every time after some adjustments to the playback offset via Deck Control.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Now editing “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Shane Ross]

This is the second time you said this Walter, and it has me concerned. If the timeline can only be non-dropframe, then how do you ensure proper and concise timing? I will be editing a two-hour History Channel show and will need to deliver a cut that is exactly 91;30;00. How can I tell if I am on time if I can’t edit DF?

[Hubble128]

Thanks for the quick reply!

Hmm… well, option 2 is out, because we’re editing in Boston, and getting the dub done in NY, so I won’t be able to edit during the mastering process. Are we sure we can’t do any better than just matching the start timecode?

I need to include 25 second breaks. The breaks don’t have to occur at a specific time, but the duration has to be accurate. Also, I’m locked to a specific duration which has to match my audio deliverables (DA88). Is there any way to ensure this using just our FCP system and a 1200A?

Again, many thanks!

[Walter Biscardi]

[Shane Ross] “I will be editing a two-hour History Channel show and will need to deliver a cut that is exactly 91;30;00. How can I tell if I am on time if I can’t edit DF?”

With a good calculator, I guess. It’s the one downside to 720p, there are no drop frame timeline options in FCP.

One way to check your time is to simply create a new drop frame timeline, even just a DV timeline. Copy all the material out of your HD timeline and paste it into the DV timeline and check your time.

Or edit in 1080i.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Now editing “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Walter Biscardi]

[Shane Ross] “I will be editing a two-hour History Channel show and will need to deliver a cut that is exactly 91;30;00. How can I tell if I am on time if I can’t edit DF?”

Just to add further, time is still time in both NDF and DF so actually you should be able to time your show out just fine. As long as you hit straight up at 01:00:00:02 to start the show, you’ll be fine in the overall timing of the show.

For instance I work on one project where it’s cut first in SD on an AVID (29.97 Drop Frame timeline). It’s sent off for audio processing and then I get the OMF and the finished audio files for recapture at 59.94 720 DVCPro HD. It’s a 23 minute project and the audio lines up perfectly with my captures. So I have a DF audio file in my NDF timeline and they match. 23 minutes to 23 minutes.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Now editing “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Shane Ross]

I know that time is still time, but of course the reason for DF timecode is because the video is running slightly slower. If you don’t drop numbers, and you cut your show to time using NDF code, won’t your show then be, in actuality, long?

[Walter Biscardi]

[Shane Ross] “If you don’t drop numbers, and you cut your show to time using NDF code, won’t your show then be, in actuality, long?”

That’s what I’ve always been taught and told by many an engineer. If that was the case, then my NDF timeline would never match up to the audio mix, right? Well, it does, so it makes me wonder if it’s different when cutting on an NLE. I honestly have no idea and I really don’t understand why FCP will not allow any drop frame editing via 720 even though the 1200A WILL record in DF mode.

I posted a query in the Varicam forum to find out if this is a Pansonic limitation or an FCP limitation.

Believe me, the whole NDF to DF thing has taken up a LOT of time over here and it’s still one of those “I don’t know” type of things so far. One thing I can tell you is that I’m able to edit directly to an HDCAM VTR set to 29.97 DF record and I can get a frame accurate start of my show at 01:00:00:02 using an offset of 3.5 frames in the device control.

Walter Biscardi, Jr.
https://www.biscardicreative.com

Now editing “Good Eats” in HD for the Food Network

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Shane Ross]

It this because it runs at 59.94 fps? The fact that NDF video and DF audio match up is no surprise…they both run at the same rate, it is just the numbers that represent the timing that is different.

Hmmm….This will taek some timing….

[Shane Ross]

OK Walter, I know you have that Food Network show that you edit in HD and that network shows require very specific timings. And you mentioned that you deliver a 10-bit master which is capable of DF timcode.

What is your offline workflow you use to ensure proper timings?

[Hubble128]

Actually, here’s a thought: since it’s only a finite number of timings I have to deal with (8 breaks in a two-hour format) plus the overall duration . . .

How about if I use a timecode calculator to convert from NDF to DF, then line up my segments with those values? When I take the NDF DVCPRO tape to be dubbed to drop-frame D5, it should line up right where it needs to, right?

Any holes in this logic? It feels ramshackle, but without access to a D5, I think this is my only option . . .