[Brad Hodgson]

Hi Chris,

Thank you. Yea, seems to work fine now that I changed the phase of the pulldown… I don’t get the w’s and s’s here… I was assuming it was the pattern: 2:3, 2:3:3:2, etc… but am I wrong? Anyone have a link to better explain After Effects pulldown menu and when it’s best to use each pulldown?

Thank you!

Brad Hodgson

[Brad Hodgson]

Thank you, Dave! That worked lovely!

So, one more thought… I have been circumventing the issue that I only have a bilevel sync here when I need to send an HD sequence to an NTSC for layback to dbeta for a SD master by nesting the HD sequence into an NTSC sequence in FCP then laying that back to tape…

Could this work well for accomplishing that task without nesting in FCP by following the steps you provided then just scaling to a D1 preset? I would need to set render fields to lower, obviously…then take it to FCP, drop it in a NTSC sequence and layback that to dbeta?

Would that work?

Thanks again!!!
Brad

Brad Hodgson

[Brad Hodgson]

Hey Kevin,

Thanks for the quick responses! Yea, this is 108024p footage. Source was a 4k Red 24p file, resized to 2k for Color, then rendered to 24p prores for editing in FCP. So edited at 1080 23.98 in FCP, exported to a 108024p UNXD file. I brought that into AE…

File is 23.98 progressive in interpret footage menu. My goal is to convert the 24p footage to 108060i for mastering houses as we don’t have an HD deck here for layback…. I know cards can add the pulldown on the fly (my Kona card does at least) but I’d like to be knowledgable on conforming since I’m mainly a motion graphics guy who builds progressive animations, but I’m also doing more editing lately…

With SD footage on tape, I usually just capture 29.97 since it’s going back to a Dbeta SD master here… but yea… this file wasn’t from tape.

Does that help explain anything? Haha… sorry if it doesn’t… but tons of thanks for the help!

Brad Hodgson

[Brad Hodgson]

Hi all. Thanks for the responses…

Yea, I don’t think this is 24psf footage as it was initially shot 4k on the RED (which is true 24p, right?) and then finished at 1080…

So, 2 questions… if it WAS 24psf, I understand that’s 24p footage recorded in a 60i stream… so can I play that footage in a 60i comp and will it play correctly?

Yea, it ends up 60i all right in the end, problem is, has black slug added between edits randomly where there was no black frames before… am I missing something?

Thanks again!

Brad Hodgson

[Brad Hodgson]

Yea, that’s how it is… FCP in 1080psf23.98 matching footage in timeline. when Kona control panel set to freerun, evertyhing works fine… timeline plays to my broadcast monitor, to my room TV. I set Kona card control panel to downconvert to 525i 29.97… everything looks fine. I open edit to tape, get bunch of snow… black and code, set my in, drop my sequence in to assemble, a 1080 edit to tape print screen pops up, letterboxed to my dbeta… though monitoring my dbeta out on my tech monitor the picture is like split in two: half on top, half missing, etc… when I play back the dbeta, the picture looks terrible, pops in audio… it must be a sync issue?

I’m remembering things as I type this… awhile ago when I started, the tech guy came and wondered why the genlock on the Kona control panel was set to freefun… he set it to ref in and printing to tape worked fine then… and has any time I’ve needed to capture or layback.

but, when the kona card is set to ref in, I can only playback a FCP timeline at 525i 29.97 or 23.98 1080 29.97 and I think a 720p size… not 108023.98… even when my timeline is 23.98 it will playback on my monitor and not have freezy glitches if I change it to 1080 29.97 (which is wrong obviously and in turn loses sync). If i switch kona panel back to freerun, FCP playback issues all cleared up, but downconverting to Dbeta looks horrible.

Ugh… hahah sorry. This is turning into a can of worms. I’m mainly a motion graphics guy…. and a b-editor when they need me if you can’t already tell. Hahaha!

Brad Hodgson

[Brad Hodgson]

Jeremy,

Got this all setup… everything looks good… video not freezing, etc. But when I layback to dbeta, the picture is pretty nasty… pixelates in places, jumps, etc. I also don’t have preview in fcp any longer (though I do on my broadcast monitor).

When I set genlock to ref in, it clears everything up… but then that’s when picture freezes on my broadcast monitor, glitches when trying to playback most anything other than 720×486 from a FCP timeline… however I can capture and layback without issue. What do you suggest?

Thanks!

Brad Hodgson

[Brad Hodgson]

Lovely. Thank you so much, Jeremy! This makes perfect sense and you explained it perfectly.

Thanks again!!!

Brad Hodgson

[Brad Hodgson]

Okay… hmmm. well then now I’m confused. If I change my output format from the view menu and it mismatches with my timeline format, my video won’t playback… on my broadcast monitor and many times in my actual timeline. Example: if I am working in a 108024p timeline, and if I was to change my Kona output to NTSC 29.97, video will freeze. What am I doing wrong?

Brad Hodgson

[Brad Hodgson]

Okay guys, I’m sorry… one more question then… so, in downconverting an HD picture to an SD master on dbeta, I’ve always nested my sequences, then output to tape… but now I feel like I should verify this is in fact the best and most efficient way to do this…

So, if I took a 108024p sequence, nested it in an NTSC sequence and lay that back to tape, the Kona will add the correct pulldown on the fly (assuming obviously my Kona output is set to NTSC 29.97 in my nested NTSC sequence) right?

Thanks again, tons!

Brad Hodgson

[Brad Hodgson]

Okay. Thanks to both of you… sounds like easiest for me then is to just pull it into AE and export with 3:2 pulldown there as that’s where I normally work… I appreciate it!

Brad

Brad Hodgson