Shot 23.98, so I should capture that way as well, right? or 59.94?

[John Sharaf]

Michael,

The reason to capture at 23.98 is to save storage; remember that 24 frames per second are only 40% of the sixty frames per second that reside on the tape. By importing only 40% of the frames you’ll have 2.5x the storage capacity! Pretty cool ha?

JS

[Pierre]

so there is NO essential information needed on those extra frames?
No timecode or anything that would be needed to eventually do an HDCAM 10bit color correct and delivery?

I just don’t want to have to go back and re-capture at 59.94 later on (after the edit).

thanks very much!

[Matt Larson]

This really is a matter of preference. I’m assuming HDCAM is not actually 24p, correct? And you won’t be doing a film out?

The extra frames are your pulldown cadence, so when you capture 24p,you are stripping out the pulldown and left with just the whole frames (resulting in smaller file sizes). But, if you have to go back to 59.94 or 29.97 for final delivery, you are going to have to add back in that pulldown though at some point (through a Kona card for example).

Personally, since I have the storage space and can handle the bandwidth of 59.94 that’s what I edit at. For a more “passionate” discussion, read Bob Zelin’s posts in the AJA Kona forum on the subjet.

[Shane Ross]

[Michael Pierre] “so there is NO essential information needed on those extra frames?”

Nope…none. Redundant frames. Capture and edit 720p 23.98.

[Michael Pierre] “No timecode or anything that would be needed to eventually do an HDCAM 10bit color correct and delivery?”

Well, I edit DVCPRO HD 720p 23.98, and output to HDCAM 1080psf 23.98 (via Kona 3). So it is frame for frame. And that is the requirement for our delivery…hdcam 1080p 23.98. What is your requirement? Even if you had to go to 1080i60, it’d output fine and look fine.

Shane

Littlefrog Post
http://www.lfhd.net

[Pierre]

thanks guys.
We’re fine then. Editing 720p 23.98 and then will bump up HDCAM 1080psf 23.98