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where can I convert P2 23.98 into 29.97 correctly?
using log and transfer, the imported P2 is imported as native 23.98…we can edit the project in 23.98, monitor it in 29.97 through the Kona…(only thing is the source window does not play in real time on our external monitors, no biggie)
question…is there a way to import the 23.98 P2 footage converted to 29.97 using maybe cinema tools…adding the pulldown correctly?
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12 Replies
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the need is for when projects come in with multiple frame rates, and not having time to have to render everything to play realtime…and since everything that plays out goes out as 29.97, it seems easier to convert before editing. Another reason is that when editing in 23.98, our plasmas for the clients don’t display 23.98 via component realtime….so we have to make a 29.97 sequence and drag the source clips in the sequence so the producers can view it and make decisions…
our broadcast monitors playback 23.98 no problem, but the uneducated producers can’t stand the flicker, so we’re monitoring it at 29.97 anyway….
SO…can it be done cleanly before FCP sees the footage?
Broadway Video, NYC
AVID/FCP editor/engineer -
Wait a minute, let’s back up a second here.
Are you monitoring HD or SD? You have a KOna card? You aren’t using the VFR easy setups. Use the DVCPro HD 23.98 VFR setups and you will see an image, yes even out of the component in HD.
If trying to monitor in SD< you use the Kona to down-convert. If you have a project that has multiple frame rates, then you need to edit in a 59.94 720p timeline. The 23.98 footage will have pulldown added correctly in the timeline by FCP, and the other 29.97 footage will be in the same mathematical time base (60Hz). Jeremy
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does that send 29.97 out of the Kona?
Broadway Video, NYC
AVID/FCP editor/engineer -
In 720p it’s 59.94. In SD it’s 29.97.
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Yes, the Kona allows you to monitor via 720p59.94, 1080i29.97 or 525i29.97 to the appropriate monitor from various 23.98 HD sequences or 525i29.97 from a 23.98 SD sequence. The Kona adds pulldown to achieve the proper output. The AJA 720p 23.98 DVCProHD VFR preset puts out 720p59.94. Source and sequence play realtime.
What exactly are the mixed sources you’re using?
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so….even though the P2 says it is 960×720 @ 23.98, I should edit with the DVCPro HD 59.94 Easy setup…
so the aspect stays the same, 960×720, but the frame rate plays at 59.94, because P2 23.98 isn’t true 23.98, but faux 23.98…recorded at 59.94 frames
I understand that….what I’m still a little foggy on is the aspect…960×720 is thin raster 720 i guess? so where and how is the Kona playing back at full 16×9….what does it do to the pixels…are we talking square versus rectangular pixels?
on a side note…if DVCPro HD 720p is 960×720, and DVCPro HD 1080 is 1280×1080….I guess 1280×720 is full raster 720p? and for that matter 1440×1080 is thin raster 1080, which is HDV, right? stick with 1 frame size already….it’s confusing enough with the different frame rates…
i shoulda become a doctor!
Broadway Video, NYC
AVID/FCP editor/engineer -
oh but wait…HDV can be 720 as well…but why in 1080 is it Thin Raster 1440×1080, and 720 it’s full 1280×720?
Broadway Video, NYC
AVID/FCP editor/engineer -
Since you said P2 and it logged and transferred as 23.98p, that indicates it was shot 720pN24. So it is recorded as 23.976 progressive frames per second. No “over 59.94″ is involved at all. I suggested you use a 23.98 easy setup. The output from the Kona however, is normally 59.94p, 8-bit, 1280×720. It duplicates frames to achieve 59.94.
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[Tom Brooks] “I suggested you use a 23.98 easy setup.”
See, but this won’t allow an easy use of 29.97 material. You would have to confrom all your 29.97 to 23.98. I suggest editing in a 59.94 fps timeline, this way the 24p still looks like 24p, just has 3:2 progressive pulldown added, and the 60Hz material will have an easier job of handling the conversion. You can even plop in the timeline for the time being, then covert only the shots you need at the very end by scaling and deinterlacing, but not having to confrom the frame rate.
Jeremy
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[Joe Procopio] “so the aspect stays the same, 960×720, but the frame rate plays at 59.94, because P2 23.98 isn’t true 23.98, but faux 23.98…recorded at 59.94 frames “
Tom told you about this. You record 24pN, you record 23.976 actual frames per second. Record in 24p mode, it’s 24p over 60, so that means 24p with pulldown.
[Joe Procopio] “960×720 is thin raster 720 i guess?”
Exactly
[Joe Procopio] “so where and how is the Kona playing back at full 16×9”
The Kona scales the image from 960 to 1280, just like Quicktime.
[Joe Procopio] “are we talking square versus rectangular pixels? “
Yep.
[Joe Procopio] “I guess 1280×720 is full raster 720p?”
Yes.
[Joe Procopio] “and for that matter 1440×1080 is thin raster 1080, which is HDV, right? stick with 1 frame size already….it’s confusing enough with the different frame rates… “
Yeah, it depends on the camera. Really, you just have to remember 1920×1080 or 1280×720 and you’ll be fine. FCP does a good job of handling all these different aspect ratios depending on which codec you are editing in.
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