[Eric Lin]

Thanks John. Much appreciated. I just watched the tutorial on VideoToolShed’s website and it looks totally doable. I’ll download the demo and give it a whirl. Thanks both of you!

Best,
Eric Lin

[Eric Lin]

Hi Michael. Thanks for the quick reply. You are correct, I have the editor’s file but not the HDV media. The problem is that with Tokyo in the state it is with all the aftershocks happening, I’m not sure he will be able to mail anything in the near future to the states so I’m trying to find a virtual solution given that we have the two sets of media.

VideoToolShed might just work well. Have you used it before in a similar situation with success? Thanks for sharing!

Best,
Eric Lin
NYC

[Eric Lin]

Thanks Jaap. I tried what you prescribed above but still no dice. I even just started a new sequence and tried dropping the clip in and FCP asked to change settings to match the clip and when it does, the timeline still shows up read. Kind of a mystery to me…

[Eric Lin]

Hi Thiago. Did you work out your post pipeline. i am in a similar situation with a doc actually. most footage is coming in from Sony V1U as HDV shot at 24p (not 24p A where the pull down can be removed). I will also be incorporating a ton of different formats.

In my research, it seems like editing HDV material in a 60i Pro Res sequence is the best bet. Did you test this? Can ProRes take the HDV clips without rendering?

Please let me know any advice you could share. Thanks!

Best,
Eric Lin
NYC

[Eric Lin]

Hi Mark. Yeah, I fear the future.

We do want the option of doing a film out at the end if possible. By 24p I do mean 23.98.

I agree, I think the best way to save headache is to stick to a format at the outset before going IN to FCP.

Anyone have experience with say getting PAL standard def into a 23.98 HD format for ingesting into the computer?

IF they shot 1080 60i (with pull down of 24p) from the Sony V1U is there an easy way to bring that in as true 24p, to extract the 24p? I know that they did not shoot 24p A on the Sony which has the 3:2 cadence and is easy to remove. Rather, they shot the 24p option which mimcs a telecine pulldown. Is that harder to remove at the ingest stage?

I’m guessing that we should set our frame rate at the rate we want to end in: 23.98. But, any thoughts on how difficult it is to get non 23.98 material onto 23.98 tape for ingesting into FCP? That sounds like a crazy process in itself.

E.

[Eric Lin]

Thanks Stephen. These are great background articles as I make my way through the jungle of HD. I appreciate it.

[Eric Lin]

Thanks for the links Stephen. Very interesting article.

This is the first time I heard that people have had trouble with pitching the audio when going from 25fps production to 24fps. Almost everyone else has told me that it is a piece of cake that has been done all the time. Applying any sort of conversion to the audio does seem like it could be fraught with problems.

Let me know if you come across anything that describes exactly how bad the sound is when pitching down when going from 25fps production to 24fps film print.

[Eric Lin]

Thanks for the replies.

The final release format would be a filmout to 35mm, so for me that says that we should try to shoot 24p at least for principal photography. Maybe we could just play the 25p footage from the HVX200 at 24p and let it slow down 4% in the cut?

Forgive my ignorance, but from what I read about 25p production is that it is mostly for the sake of PAL television broadcast that people shoot 25p in order to simplify the telecine process.

Do people in PAL land who aim to shoot HD for theatrical release still shoot 24p? Or does 25p reign supreme. Forgetting the donated HVX200 aside, but taking into consideration of posting the HD project in Europe, does it make sense to still shoot 24P? What post factors would crop up if we shoot 24P on Varicam and post in Europe? Please share any thoughts you might have.

Thanks! I love the internet.