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Recapture 23.98 Reverse Telecine Footage from 29.97 Master?
I must be missing something, but in a traditional offline/online editing process, how would one go about recapturing footage coming from, lets say, a 23.98 film from telecine lab laid into DVCPRO HD 60i HD using standard 3:2 pulldown, if the footage was ingested at 60i but was loaded into Cinema Tools for reverse telecine to edit using 23.98 timeline. From what I understand, Cinema Tools rewrites the 29.97 media file into a new 23.98 one, thus altering the original timecode. If I lost a tape, how would I batch capture the clips referencing that 29.97 master tape if the footage has already been reverse telecined? For example, if I captured at 29.97 (or 59.94) from DVCPROHD 1080i60 with standard pulldown, reversed the telecine for 23.98 files, how would I then recapture from the original master tapes with the altered timecode? I know that Kona cards and such can remove pulldown on the fly, but without using a Kona card, how could you reconnect the 23.98 to 29.97 masters? Or is the solution to just capture 1080i60 at 23.98 directly using a kona card, removing the pulldown on ingest, and not even reversing the telecine at all? Seems like there is a solution here that I’m missing. I’ve pored over the postings here and haven’t yet found an answer. Thanks in advance.
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5 Replies
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When I’ve done projects like this, I worked in this way:
Capture the clips into a 29.97 project, reverse telecine, edit in a separate 23.97 project.
If I need to recapture, I recapture from the 29.97 project, reverse telecine the file again, and put it into the 23.97 project.
But I wouldn’t have to do this, because I have a backup of the 23.97 files, so if I lose one I get it from the backup.
If I only had a 23.97 project and clips, I would drag the clips I need to recapture into a timeline, export the 23.97 EDL, convert that EDL in Cinema Tools to a 29.97 edl (File — Export — converted EDL — 30 FPS from 24FPS) and then import that new EDL into a FCP project, and catpure from that.
Is this close to what you want to do?
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Thanks for the response, I appreciate it.
Actually, yes, this is exactly what I’m talking about. I’m just about to start a project, and I want to be prepared in case something happens. I’d definitely back up the reverse telecine footage just in case, and recapturing to the 29.97 project and then following the same steps to reverse the telecine seems like it would work if I for some reason didn’t have a good backup.
Both of those are good workarounds to this issue. My only remaining question is, then, what do people do when they are working in an offline/online environment and they digitize their high-res 24p laid into 29.97 footage into a low-res timeline, reverse telecine the footage through CT, edit 23.98 with the new footage and they want to recapture from that high quality online 24p laid into 29.97 or 59.94 master source? What is the SOP for something like this? Would this be the EDL solution you proposed? Wouldn’t you need to recreate any effects work this way?
This would of course only be relevant if the project was not destined for broadcast, because then you’d want to edit 29.97 anyways. If I was only wanting to finish to DVD and let the player add the pulldown, I’d want to stick with a 23.98 timeline, or if I was going to print back to film but wanted to recapture for some HD preview masters (or even, let’s say, that I was very short on drive space), so these would be the scenarios that I’m confused over – what is common practice here?
Thanks again for your help in advance. This forum is great.
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Perhaps the best way to do this is just to let the kona or the capture card do its thing, and just remove the pulldown on ingest and not even involve CT. One of the reasons to just get a capture card and let the hardware do the work. Seems inconvenient any other way. Thoughts?
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I don’t quite understand. If you have a 29.97 master, and you will finish at 29.97, wouldn’t it be easier to edit at 29.97?
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It’s 23.98 telecined 16mm film laid into DVCPRO HD 1080i60 as our offline quality, and we’re finishing on 23.98 because we aren’t broadcasting it, we are going to DVD only and possibly film print. Thus, the need for 23.98.
If we needed to finish at 29.97, then we would stay there, but its 23.98 with pulldown on tape that we’d like to edit at 23.98 and finish at 23.98, and I think the answer is to just leave the pulldown removal to the Kona upon ingest, and if we need to recapture we’re already in the correct framerate.
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