[Doug Beal]

3 way color corrector .. color w bcast safe selected on.. these are part of the FCS
or
https://www.eyeheight.com/complianceSuite.asp

provides more advanced legalization.

we output broadcast masters all the time using whatever tools are necessary depending on the project requirements/budget. The simplest here’s my project can you go to tape gets broadcast filtering, 3 way color corrector if it’s extreme illegal.
Most of the major issues come from folks not using a real monitor or scopes to check their project. Even the scopes that come w FCP are pretty accurate if you have a decent GFX card

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

https://forums.creativecow.net/thread/98/876602

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

2:3:3:2 is a pulldown pattern typically used for “advanced pulldown” a cadence to be detected in order for 24P material shot on a tape based camera to be injested at 29.97 and then the pulldown removed to be edited at 23.98 as in dvx100 etc.
you’d be much farther ahead cutting in 23.98 Psf and generating your deliverables from that.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You will need an AES to analog converter if you wish to operate in +4 land, or the breakout box for the 3G which has a pair of RCA -10 outputs onboard. Depending on your SD/HD-SDI monitor and potential delay issues due to video processing you might consider using the dis-embedded audio signal that some monitors have available as a -10 analog out.
The AES outputs are BNC so you may need baluns to hit your A>D , D>A converters. Though it is an AES signal some converters like the Behringer SRC2496 AD/DA will report the signal after the balun as SPDIF.
It still works fine for monitoring/metering as a converter

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I’m glad to hear you have found a solution. was it the tequila or the oatmeal stout? I think an oatmeal stout sounds great right now.
All the best to you
db

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Sir If you will allow me to help you understand this.
900 frames is a 30 sec spot in NTSC in any digital delivery standard/spot delivery service. no part frames no need to be concerned about subcarrier frequency and the relationship between electrical frequency.
I have no idea what happens to the stray milliseconds at the end of the TV day.
If I’m mastering a spot to be delivered to the companies that distribute commercials they are 900 frames for 30 second spots and 1800 frames for 60 sec spots.
There is no real world measure for milliseconds in video it’s frames whether the frame rate is fractional as it is in Japan/North America and MPAL Brazil or integer frame rate for you PAL folks.
Now I could be doing audio for video and want to delay a track to fatten it out and be using milliseconds but there is no way when I’m cutting video someone is gonna tell me to go to frame 34.9 and make an edit. I can process using field rendering but any edit will be frame based.
Thus even though SD broadcast NTSC is approx 29.97 frames/per/second I cannot submit a 30 sec spot of 899.1 frames. I don’t know of an edit system that can do that. Also my submission would be rejected
Does that make sense to you?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I suggest that you master to HDCam. Recapture that HDCam master in SD to generate SD deliverables. Recapture that same HDCam at 1080i 59.94 to generate the HD deliverables
or in your case the 720P deliverables but since you can’t record HDCam it’s a moot point.
Are you delivering this as files?

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I assume 24 for a framebase. a constant to give me a framecount or to convert between TC and frames when I need to know. As Bouke says frames are integers. If I’m posting a 30 sec spot to some broadcast delivery platform in NTSC land I know I need to have exactly 900 frames. My numbers are based off the frame base (30) with the result in frames being an integer.
In some color correction software TC is frame based and to locate or push shots out for VFX and conform time needs to be dealt with frame based and also whether frame counts start from 1 or zero. The integer result allows me to play fast and loose with the math

Now formats and frame rates for aquisition through delivery are a different ballgame and the precision and sync is critical.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You best results will be from hardware conversions.
I would edit and master in 1920 x 1080 ProRes 422 23.98 Psf to HDCam tape
Is the 720P deliverable on SR? D5? DvcProHD?
That would determine the method of generation for the 720P master.
The 525 masters can be injested directly from the 23.98 Psf HDCam Master selecting the appropriate Frequency setting on the HDCam machine. The results of that capture would then be closed captioned for the SD delivery.
The same MacCaption file can be used to generate both the black movie for SD CC and the 708/608 QTCC for the HD CC
You will end up with a pulldown inserted to get to 29.97 from 23.98. Those pulldown frames will show interfield motion when viewed on a capable (broadcast) monitor.

FCP will Not do this correctly by pasting into a timeline. Compressor can via frame controls. Hardware can in real time

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I think you need more tequila
earlier you posted
So, if I have 20 seconds, 5 frames of video at 24fps NDF, the calculation should be:
(20seconds*(24frames/1.001second)) + (5frames/(24/1.001))=479.72 frames

Now this is wrong there is no .72 frames
you have 20 seconds which is 480 frames at true 24 fps
then you have 5 frames that didn’t round into seconds for a total of 485 frames

switch the counter to frames in your sample quicktime and see what it counts for frames

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN