Guy
Forum Replies Created
-
Kind of ironic that the only way to mix formats on the same timeline in FCP is to buy something from a company owned by avid. This is probably the only thing I feel let down by about FCP 5. How hard could it be to mix formats on a dual G5?
-
The Io Control panel will be final 1.0 release in the next few weeks, with the procamp and timing functions enabled.
so sometime around NAB 2006? 🙂
-
Unfortunately they only list Mackie as a candidate.
I think some other companie’s products are compatible with Mackie’s protocol. Tascam has stuff that is.
-
We’re shooting super 16mm, but my DP (who does a lot more than just DP work) suggests cropping it further to 1:1.85. Not sure if I’ll go that far, maybe just 16:9. But, and please correct me if I’m wrong, there’s no reason not to telecine the footage anamorpic, right? Otherwise, you’d just be losing resolution I’d think.
I would talk to your DP more about that, I think doing the telecine anamorphic will crop out a little bit of the top and bottom-maybe giving you less options for reframing later. It would be the best way to keep the maximum resolution. If you wanted to then crop to 1.85:1 after the telecine it would be easy.
If it’s telecined anamorpic, can’t I always just go back and make a letterboxed version?
Yep, and if you encode the DVD as anamorphic on playback the DVD player will fill up the screen on 16:9 TVs and letter box for 4:3 TVs
-
Just click on all the footage that is now offline and do a batch capture. If you set reel names for the tapes during original capture this should be no problem, just feed it the tapes it tells you.
-
5- for the online just reconnect the DV timeline to the original uncompressed footage on the drive. All timecode would match perfectly and you’d have an instant uncompressed 23.98 online for color correction and graphic
I forgot to add that the sequence settings should also be changed to uncompressed for the online.
-
What do you gain by doing things your way?
mus man pointed out the benifits of 24p DVD above. Most hollywood movies are actually encoded 24p on DVD. It’s fine to edit the 24p material as 29.97 and it will retain the film look of 24p but you don’t get the benifits of being able to encode a 24p DVD. It makes sense for shows that are primarily going to broadcast to edit @ 29.97 because it’s easier and they might be mixing with 29.97 elements. But for films it usually makes more sense to edit at 24/23.98 fps.
The question I have is what the workflow would be for onlining the 29.97 digibetas from tape as 23.98 using reverse telecine and CT databases and all that.
Here’s a workflow that would be easy but use a lot of drive space:
1- digitize all the footage uncompressed from digibeta
2- do all the cinema tools stuff, reverse telecine the uncompressed footage.
3- once you have all the footage in the bin as uncompressed 23.98 clips use media manger to recompress as new seperate DV files.
4- edit with the 23.98 DV files in a 23.98 DV timeline.
5- for the online just reconnect the DV timeline to the original uncompressed footage on the drive. All timecode would match perfectly and you’d have an instant uncompressed 23.98 online for color correction and graphics.No redigitizing and no DVCAM clones would need to be made with this workflow but it could use up too much space depending on how much footage was shot.
mus man- You should also telecine the footage anamorpic if it makes sense for the aspect ratio of the footage. You could then encode the DVD anamorphic.
-
Yes, it is possible to do that…IF YOU ARE GOING TO DVD. If you are onlining on digibeta, you have to be editing at 29.97. Digibeta does not play back at 23.98, and therefore cannot accept a 23.98 timeline or EDL. If your final destination is going to be digibeta, you ABSOLUTELY should not edit at 23.98…PERIOD. Stick to the 29.97 timeline. Digibeta cannot be onlined at 23.98…it only runs at 29.97.
Sorry to be so repetetive, but you don’t seem to be getting that digibeta only runs at 29.97, and therefore accepts only a 29.97 timeline or signal. Editing the footage at 23.98 would be counter productive and cause problems.
I understand that digibeta only runs at 29.97 and there is no way to make it record actual 23.98. BUT it is very possible to output a 23.98 timeline onto digibeta as 29.97 with 2:3 pulldown. I know this because I’ve done it. All you need to do is apply the 2:3 pulldown on output. I used a nattress filter but I think some capture cards can do this in realtime.
I would bet that the final destination after the digibeta WILL be dvd. On the other hand maybe he should just edit everthing 29.97 to keep it simple.
-
Digibeta runs at 29.97 fps, and you can only output to digibeta at 29.97. Performing a reverse pulldown and editing 23.98 will only complicate things. If your footage has been telecined to digi, and you are onlining on digi, stay at 29.97.
It’s possible to do a reverse telecine from the 29.97 digibeta master during the DVD encoding and restore the original 23.98 progressive frames. If that’s going to happen the footage should be edited at 23.98 or at least onlined at 23.98 to ensure constant 2:3 cadence on the digibeta master.
If your telecine was performed properly there will be no frame jitter. Most broadcast television (THE WEST WING, THE O.C., JAG, 24, LAW AND ORDER) are shot on film and telecined to digibeta, edited offline, then onlined on digibeta…all at 29.97 fps. No jitter.
That makes sense… but i think when they make DVD’s of those show they will be stuck with 29.97 and not be able to take advantadge of the benifits of using 23.98 on DVD. It’s not that big of a deal though I guess.
A short film was shot on super 16mm, transferred to D5 (HD) then downconverted to DVCAM. I used CT to convert the flex file (ALE – Avid Log Exchange) into a FCP batch capture list. I then captured all the material at 29.97 fps…then used CT to perform the reverse telecine to 23.98 fps. Since my masters ran at 23.98 fps, the fact that my offline footage ran at that speed was fine.
Can you do the same thing with 29.97 digibeta masters by reverse telecine to 23.98 during the online? Would that work?
-
I was wondering if using Cinema Tools to make the DVCAM tapes 24p would mess things up when I try to do the online with the digibeta tapes
I don’t know how the offline/online works when using CT to do reverse pulldown. Anyone here done this?
If you are onlining the digiebetas and will be staying on tape, stick to a 29.97 timeline. NO need to go to a 24fps timeline unless you telecined to HD or are going to have the negative cut.
This is true and would make everything much easier but their are advantages to editing @ 24 (or 23.98) even if not going back to film. One is that you don’t have to worry about jitter frames as mentioned. Another big one is that you can encode a DVD @ 23.98 instead of 29.97. Since your are then encoding 24 frames per second instead of 30 you need less compression on the DVD. It will also play back without interlace artifacts on computers and progressive TVs.