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SD to HD workflow for film
Looking to design a workflow for film production using avid adrenalineHD and StudioHD.
Wonder what workflows folks are using to shoot film. Telecine to HDCam or D5 @ 23.976 or 24 frame. Make a matching dv dub or proxy for offline work. Design audio in pro tools with an ntsc output for adr/foley. Then bring the project to adrenaline and conform HD.
Issues I have seen in my experimentation are getting an NTSC project, or Bin, project or sequence to open in an HD Adrenaline or even XproHD project. Keep getting an error that it is NTSC and won’t import.
Converting a 29.97 list to 24 frame timecode and importing into adrenaline, also not working. Likewise with an ale file. get to the point where I have a 24 frame list in edl manager, but avid doesn’t want to bring it back in
It seems like a 23.976 workflow would work best for ntsc monitoring down the chain in ADR Foley. However if you are using MOJO for displaying ntsc video, in avid you can monitor 24p footage on an ntsc monitor from avid. Can you use pro tools LE from a 24P project with an external ntsc monitor for ADR as you do in Avid? Would the resulting audio files be 1 percent slower?
If I could get the whole thing to work true 24P, it would eliminate a complicated hassle slowing down the production audio prior to syncing and allow me to keep our audio @ 48k. But am I just pushing that hassle later down in the workflow to ADR?
Other than the need to slow down the audio prior to capture and syncing in the avid. (we are a school so we don’t have the audio slowdown and syncing done at telecine) any other downsides to 23.976?
Any and all help is appreciated.
Best,
Dan
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1 Reply
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Dan –
There is a lot to discuss here and each answer will raise more questions. Send me your contact information at michael@24p.com and I will contact you once in the office on Monday.
All this is possible and most feature films (as well as most film based television)still work at true 24fps rather than 23.976. All of this works, it is a matter of looking at the entire workflow from beginning to end to see what best fits. For starters, see the article I wrote for the Motion Picture Editor’s Guild on choosing project types:
https://www.editorsguild.com/newsletter/MayJun04/mayjun04_23-24_proj.htm
Michael
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