Proven mixed-rate workflow?

[Danny Thompson]

Based on what eric has done and what seems possible, I’d recommend this for your project:

-split it up into 23.976 and everything into three media managed piles: 30, 24 and 24-over-60, other rates
-remove all the pulldowns and relink in your 24 timeline
-lift everything not 24 into another track, conform timeline to 30p
-produce frame-blended ProRes proxy versions of all the 30/25/other rates.
-relink to these in the 24
-grade in the 24 session with clients or straight through (so all the footage is there in proxy form)
-get approval
-export 30p and 24p timelines, have davinci handle scaling and cropping
-apply pulldown to all 24, relink in 30 timeline
-use frameflex style conversion on all 30 for the 24.

looks like the worst part was your promising a 24 version…

[Joseph Owens]

[Danny Thompson] “looks like the worst part was your promising a 24 version..”

The vast majority of the source media is originally 2398 anyway, so its actually the best part. If given the option, my sense is that most people in the post world would far rather work in 2938. What’s not to like about 20% fewer frames to deal with, especially if you are hand-roto-ing a matte or something?

Its the necessity to have to keep backwards-compatibilty with NTSC that is the real pain here.

jPo

“I always pass on free advice — its never of any use to me” Oscar Wilde.