Workflow questions

[Joseph Owens]

If you take a quick peak down the list, I’ve stated my reasons (and FCP’s preference) for working in native framerates. Its in the 29.97/23.98 pulldown removal thread.

So 23.98 would be better. Unfortunately, the 29.97 stuff won’t look particularly pristine, and the conversion to 29.97 at the end of project for the entire timeline is fraught with danger, especially if this is going to tape for deliverable (assumed). FCP does only 2:2:2:4 to tape from a 23.98 timeline (unless you do a deliberate Compressor 2:3 Upper-Field conversion), and 2:2:2:4 is unacceptable for broadcast (although you see a lot of it that has somehow gotten past QA).

If you are closed captioning at the same time, the Edit-to-Tape module can only do that insertion if you are operating from a 29.97 timeline, anyway.

Things are a bit of a mess at the moment with on-line mastering.

jPo

You mean “Old Ben”? Ben Kenobi?

[Shane Ross]

Work in a 23.98 timeline. Get a machine with a capture card that will upconvert your SD footage to HD (AJA Kona 3, Kona LHi, Matrox MXO2 line, Decklink Extreme 3D)…and then use Compressor to convert that to 23.98. I have a tutorial on how to do that process:

https://library.creativecow.net/articles/ross_shane/aja_kona3.php

Then you edit 23.98 from start to finish. When it is time to output, you use the same capture card to output, as it adds the proper pulldown when you output to 29.97 to tape. BUT…if you need to deliver tapeless now that there is a vast shortage of HDCAM SR and HDCAM…well… I’d rent an AJA KiPro, set it to record the format and frame rate you need, and output to that.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Rob Tinworth]

Another vote for cutting 23.98. Just remember to account for the timecode shifting when you master your 23.98 nondrop timeline to 59.94 drop. It’s about a 3 second shift over a 52 min doc.

Rob Tinworth
http://www.1021.tv

[Shane Ross]

If you want to be a bit more precise about the timing, you can use a timecode calculator to do the conversion, like I mention here:

https://lfhd.net/2008/10/22/timecode-calculator/

That also has a link to the post I had about how to check the timing WITHOUT a calculator.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[Jim Blokland]

Anyone care to comment on second part of question, regarding mixing XDCAM HD422 with ProRes on the same timeline?

Thanks,
JIM.

Snow Leopard 10.6.4
Mac Pro Octo Westmere
14 GB RAM
ATI Radeon 5870
Matrox MX02 Mini
Seritek 4 TB RAID
AVID MEDIA COMPOSER 5 // FCS3

[Rafael Amador]

[Jim Blokland] “Anyone care to comment on second part of question, regarding mixing XDCAM HD422 with ProRes on the same timeline?”
Hi Jim,
No problem at all. Just set your sequence to Prores.
Don’t forget to set “Render in High Precision.
rafael

http://www.nagavideo.com