[Gary Adcock]

thanks Torrey

it was also very good to finally meet another one of the Bovine Bunch.
I am glad you had a great time, it really is a terrific bunch of people.

ga

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[mpe] “Gary becareful. This is incorrect especially when you are dealing with film. 23.976 and 24p in regards to film are 2 different frame rates. You will ruin your audio sync if don’t differentiate. First you need to ask the DP the frame rate – is 23.976 or 24p flat. Then you will need to find out if the producers are paying for sync sound transfer.”

You are very correct about the audio — at 24.0 the audio needs to be recorded at 48.048khz,

but in my experience I have never gotten a telecine transfer from film to Dbeta that had 24.0 for a frame rate, but that may be the result of living east of the Sierra Nevada’s or the fact that my transfer house does all tapes DF.
My HDCAM and D5 telecine masters always seem to be at 24.0. however.

Either 23.98 or 24.0 frame rates can be used – check with your finishing editor if you have one. but for a first timer at this it will be much easier on your brain to see if you can stick to a 23.98 frame rate rather than dealing with the issues that you can encounter when working at 24.0 such as audio sampling, exaggerated “judder” with 24.0 content playing back on NTSC displays and the like.

Correction: the removal of the 3:2 pulldown is called reverse telecine, not telecine as I said in the previous post.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

DRW – the D5 deck in my world accepts HD content, but is not considered a HD format, the 3700 deck can handle all formats universally and it is traditionally only used in Post. I do not know anyone that calls D5 anything but D5 due the the variety of content that it will record on the $500 per piece tape stock. Outside of NY, Toronto and LA D5 decks are only in post houses and some facilities, they are expensive to rent, and in anywhere but those cities almost impossible to get your hands on one.
So please be careful offering a solution to someone that is limited in scope outside of your market. We get posters from all over the world and of every skill level. Sometimes I use my replies to keep the solutions to a more universal outlook.

On compressed vs UC editing of HDV content, in my experience not a lot of HDV users even know what a D5 is and would not work in the uncompressed 1080|60 due to the huge additional costs of hardware for storage and software needed. You would have to agree that most HDV users (or at least most of the ones on these forums) are at the very beginning stages of trying to work in what is really a quasi -consumer product – many even do not see the need for anything other than FW storage for their productions. While I do not work in that way, we still need to help them.

I do agree that “Mastering” to HDV tape is fairly futile, given the inherent problems with the system. I have to deal with HDV camera content regularly, that does not mean that I have to work in HDV, but for many here, they are looking to work in this format and they are listening to Apple and Sony tell them that this is the best thing since sliced bread. Too bad that bread is getting stale while they wait for the really bad render back to HDV. But most of them cannot afford the D5 “cake” even if they live in a place that has them available for rent.

Lastly – it was not my intention to offend you, however I stand by what I said. even if I could have phrased it better.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[nleonidas] ”
We shot S16 and had it transfer to Digibeta at 24fps. Then we had it transfer to a hard drive. On the get info of Quicktime files it states 29.97frame rates. So when I cutting the film do I cut at 24ftp timeline or 29.97 timeline.”

You will need to learn Cinema Tools.
NTSC is always recorded to tape at 29.97, so you will need to telecine the content in CT to remove the extra frames so that you can edit in 24p. there will be some slight errors on this footage do to the introduction of the 3:2 pulldown to get the footage to 29.97 from 23.98 (24p)

The other solution is to edit at 29.97 and then use CT to conform the edl back to 24p – this method does usually require some extra effort as you might be editing on frames that do not exist at 23.98.( 24p)

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[Shane O’Brien] “moving back to N America with a lot of home videos on PAL might be a headache. “

Shane,
the DVD’s play on either systems DVD players but not on the lowend models. I have a Toshiba DVD player / recorder that plays out PAL DVD’s to my NTSC TV set. IT cost about $400 US (230 UKP?)

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[Sean Meredith] “Are there other editing programs that can get the TC out of the HDSDI? I had heard people talking about this issue before and they had said it was an issue with the cards and that Aja and BlackMagic were having trouble with it. “

correct Sean, lots of other editing apps see the embedded SMPTE time code over SDI , you yourself said your were able to capture at 24p which means the card you were using saw the RP188 Flagged frame content over SDI.
RAVEHD, Avid, Quantel, Discreet can all see the SMTPE code over SDI.

it’s that darn DV birthright of FCP still messing with us, My AJA boards see the SMPTE code on Wintel systems

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[Sean Meredith] “The timecode issue was one that I was unable to solve. The current HD cards can’t read the embedded timecode. “

That is not correct, it is FCP that does not read the TC over HDSDI / SDI it has nothing to do with the cards.

[Sean Meredith] “There is BNC timecode out of the Varicam, but it needs to be RS-422”

Addenda makes a TC dis-embedder to RS422

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[Chris M. Oben] “When using the AJA HDP HDSDI to DVI converter box – what are the settings to maintain the highest quality on a Viewsonic 23″ 1920 x 1200 display?”

other than turning the scaling on of off the device is configured out of the box.
you set the scaling in the dip switches on the back of the unit.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[David Battistella] “How does all of this compare with the scope within FCP. I have found that in SD the scopes are pretty bang on compared to my tektronic scopes.”

FCP scopes cannot handle realtime info like a hardware scope does.

[David Battistella] “Also, How accurate would the scopes be within a software package like Silicon colors Final Touch HD? I am sure that a software package like that, which relies so heavily on color, luminance and hue, would have accurate monitoring. Is this not an adequate solution. “

The Silicon Color scopes in Final Touch HD / 2K match my Leader LV5750.

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA

[Gary Adcock]

[David Roth Weiss] “Either D5 (Panasonic) or HDCAM (Sony). These are the major competing flavors of true high definition. Where are you located? If you’re in a big city you should be able to find a facility that can output for you from your finished project off a hard drive.”

Funny, the workflow the largest number of people are using for HDV content is to convert it to 1080|60 DVCPROHD, so that they can get true I-frame available edits and at a data rate not much larger (between 10-20%) than the Native FW based HDV content.
No renders back to tape no issues with levels clamping.

and for the record the D5 is not an HD format, it is a post tape format, the 2 most common true HD acquisition formats are Sony’s HDCam and Panasonic’s Varicam ( which uses the DVCProHD compression to tape). The Viper , Genesis and other formats are used less for HD acquisition and more for Film “replacement”

Gary Adcock
Studio37
HD and Film Consultation
Chicago, IL USA