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What would you do???
If…a client brought in pre-captured DVCProHD (shot on Varicam) that was 23.98 fps, and you had edited a few commercials in a 23.98 fps timeline, and you now need to output to standard def DBeta?
options:
1. output from 23.98 timeline via Kona-3 and let the Kona add the pulldown realtime – would have to rebuild a few graphics for HD use but it’s not that much, just a logo/website combo still, nothing moving.
2. copy and paste footage into a 10 bit standard definition 29.97 timeline, render and output to tape from there (tried this, pulldown is not so great when created by FCP)
3. use Cinema Tools or After Effects to add pulldown to each individual shot, then replace shots into a 10 bit 29.97 sequence in FCP and output from there.
4. Or (your idea here)
I appreciate any ideas here.
Joe Murray
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10 Replies
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[Joe Murray] ”
1. output from 23.98 timeline via Kona-3 and let the Kona add the pulldown realtime – would have to rebuild a few graphics for HD use but it’s not that much, just a logo/website combo still, nothing moving.”that’s what I would do.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”Read my blog! https://blogs.creativecow.net/WalterBiscardi
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I also do #1 (answer, that is) with an LH, works great.
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I too, would probably do option 1, but you have alternatives.
If you want to bring your HD timeline into 10 bit SD space (without recapturing) for color correction or for whatever reason you could create a 10 bit 23.98 SD timeline. The Kona will add proper 3:2 if you set the View > Video Playback to AJA Kona525i 10 bit 29.97 (not 23.98). You can then lay this off to DigiBeta.
The other option is to recapture your HD material @ 10 SD using the SD-SDI out of the DVCPro HD deck.
Jeremy
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I’ll take what is behind door number one!
David
Peace and Love 🙂
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Well at least we have a consensus. I’ll work on this Monday morning and most likely confirm that you were all right.
Joe
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this is my stupid opinion (for the future).
You get Varicam tapes shot at 23.98. You let your Panasonic VTR do the pulldown for you to 59.94, and NEVER EVER work in a 23.98 timeline, for any reason, until George Lucas decides to hire you to cut his features. Once you work with the DVCProHD codec settings in FCP, you never ever have to even think about this stuff. It will just output correctly – to Digi Beta, VHS, AJ-HD1400, etc. Let the VTR do all the work for you.Bob Zelin
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If I owned the deck, this would definitely make sense, but I don’t. We plan to get one later this year.
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Although Bob’s suggestion is valid, there are many other reason’s to work @ 23.98. Bandwidth is a major consideration, also, with a 24p master, you can go to almost any other format/frame rate pretty ‘painlessly’.
Jeremy
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Yes, I forgot to point out that sometimes when we build DVDs for projection at large events, we work in 24 fps since the projectors look a lot better when they don’t have to deal with fields, especially when graphics are involved.
Joe Murray
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So I did output to DBeta using the Kona-3 to do the pulldown, however there were some strange issues with the pulldown it created. Main problem was that I had split one clip into two pieces, the second one blurred, and put a dissolve between the two clips to transition the blur in. This created a weird shift when pulldown was added on output. I was able to fix it by “unsplitting” the clip, adding a blur filter and keyframing the transition rather than using the dissolve and the problem went away. 24p did not show the issue until pulldown was added.
So overall, success with the Kona, just have to keep an eye on the pulldown it creates.
Joe Murray
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