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Reverse Telecine 29.97 -> 24P or 23.98? (and EDL shifts)
Hello,
The more I read about Cinema Tools, the more amazed I become about about what it’s capable of doing for me.
Here’s a brief background on my situation: I’ve filmed on an SDX-900 camera and had all the DVCPRO50 tapes captured a while ago. Those tapes currently have 29.97 as their timebase. Not knowing any differently I went ahead and have now edited my entire film using NTSC 29.97 as the timebased. Unfortunately in some scenes this tends to cause interlace & stuttery issues. This was primarily pointed out to me when I recently went to some post production studios to get estimates on audio & color correction.
At the moment I believe I have two questions around this overall process:
1. When I use the ‘Reverse Telecine’ option on my 29.97 tapes, is it better to convert it down to 24P or 23.98? I’m leaning towards 24P just for simplicity in editing and in case I ever do a film print, but wanted to hear if that’s incorrect for some reason.
2. I’ve got a very nice FCP project file at the moment which contains all my edit inforation and timelines but they are all in 29.97 timebase. I understands that Cinema Tools provides a method to convert EDLs from 29.97 ->24P but is there a way to convert a full project file or XML file that contains even more edit information as I want to simply turn around and bring the information directly back into FCP.
Is this the best way to proceed, or should I just make new sequences based on 24P and cut & past my edits from the old timelines in once I’ve re-linked to the new 24P based versions of the tapes?
Any help or suggestions on the best way to do this process is greatly appreciated.
Thanks,
~Jonathan Tanner
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5 Replies
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What is your final delivery? If it is broadcast then you will be delivering 29.97 interlaced.
So converting down to 23.98 and back up to 29.97 doesn’t make sense. I know the world is progressive mad but you still need to deliver standard def as interlaced to broadcasters. If you have interlace problems on a few shots, sort them out. By converting to 24p you will be introducing a whole lot of different motion artefacts and needs pre production planning to sort out shutter speeds.
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Hi Michael,
The film currently is intended for viewing at Film Festivals, and then eventually a release on DVD.
Thanks,
~Jonathan
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Okay, I’ve gotten some direction that 23.98 fps is the better frame rate to use. I’ve also gotten the EDL process of conforming from 29.97 -> 23.98 mostly figured out.
The only piece that I’m still having a problem with is this:
When I import my new 23.98 EDL & reconnect the footage, all of the scenes in that timeline show up ‘square’ and I have to change the distort value from 33.33 down to 0 on each and every scene.
I’ve tried doing a group select of the entire V1 timeline but it still only lets me change the values one clip at a time. Any ideas or suggestions on how to do this in a more ‘batch mode’?
Thanks,
~Jonathan
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You’ve probably figured this out by now, but if you select one clip with the proper distort settings, copy, then select the rest and right click->paste attributes, then check the distort box.
-Sean Donnelly
Digital Supervisor, SFI -
Hi Sean,
That hadn’t actually occured to me so thank you very much for your post. It saved me quite a bit of work last week.
Thanks again,~Jonathan
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