[Enrique Sanchez]

Hi Pat. Thanks for the response. I checked the menu and “audio follows video” is not selected. The weird thing is the cameras only shifts about 3 times during the multi-group, then it continues on as a normal group should with the cameras locked down to their proper windows.
I think it changes once one of the main cameras stops shooting for the first time.

[Enrique Sanchez]

I think multicam mode only works with a track in V1 in your sequence. Try moving the rehearsal to V1 and see if it works.

[Enrique Sanchez]

Hello. When you switch the deck to 1080i/59.94 with a 23.98 tape, the deck displays on the screen the 24 TC and the 29.97 TC underneath. So I’m assuming the deck will reference the 29.97 TC and just capture from that point since the 24 TC is locked in with the 29.97.

[Enrique Sanchez]

That was my initial suggestion, but then the second day of post they decided they want to follow the workflow that another show is doing that seems to work well for them which is shoot at 23.98, capture with pulldown being added by the Sony F1600 deck, edit at 30i at 10:1m, upres to DNxHD 145 (I believe) for 1080i/5994 delivery. I can’t really change the workflow planned since the footage needs to be seen on Monday.

If I’ve already captured footage in a regular project, can I still create a new project with matchback and move the bins or do I have to re-capture again? I hope not, I really don’t have time for it..

[Enrique Sanchez]

Yes all sources will come from 23.976 XDCAM tapes. Offlined at 30i, upresed to DNxHD so the tapes will be batch captured after picture lock.

Is the Matchback option required? I thought it was only for true film sources to get the key number tracked and everything.

[Enrique Sanchez]

We’re editing in 30i NTSC and following a workflow that another show does for the same network. You helped me in another thread yesterday about capturing 23.98 XDCAMs with pulldown.

Thank you for all the help, I guess I’ll be re-capturing those tapes now.

[Enrique Sanchez]

Michael, that’s precisely what happened. I’m downconverting the 23.976 XDCAM to 1080i/5994 for capture in a 30i project. The DF/NDF was showing up and the false information that I believed caused me to switch it to DF and capture a few tapes that way.

Is the best thing to do re-capture with the switch on NDF?

A slightly related question, when I set the AJA sync generator box to 1080p/23.98 in a 23.98 project with a 23.98 tape in, I get the REF NON-STD error. If I switch it to 1080psf/23.98, it works fine. It was my understanding that the F800 shot 23.98, not 23.98psf. Am I just getting this other setting mixed up?

[Enrique Sanchez]

Looks like I’ve been fooled by production. My post super said production was shooting with the new Canon 5D Mark III that has timecode support at 23.98 DF and Sony F800 23.98 at DF. Just verified the 5D quicktime in QT Player and it says it’s in non-drop timecode, but the 59.94 clips I’ve also received are in drop frame. Well, no big deal I guess since I’m making XDCAM Masters of all the 5D conformed at 23.98 so I’ll just make the tapes and they will be non-drop.

As far as the few Sony F800 XDCAMs I captured with the DF setting on the deck, should I re-capture at NDF or can I modify the TC in Avid and just make sure the deck says NDF when I online?

Next time, I’ll make sure to trust my instincts… and tell production to stop sending false information. HAH

[Enrique Sanchez]

That’s what I thought too, but production claims they are shooting everything at DF. Just checked AMA, 5D at 23.98 shot at non-drop frame, 59.94 shot at drop frame.

I just popped an XDCAM from the Sony F800 and the clips’ timecode look like they’re non-drop frame so now I’m really confused. I’ve been capturing these tapes with the switch on the deck set to DF since they said that’s what they’re shooting. This switch on the deck can be set to DF/NDF. Now, my concern is should I re-capture everything at non-drop frame or can I just modify all the clips timecodes in Avid and make sure the deck is set to non-drop when I upres the footage at the end?

[Enrique Sanchez]

Ok I see. So if audio is coming in hot, then that’s just how it was shot… got it.

Thanks for all the help Michael. I really appreciate it!