[Jerry Witt]

First off, I am not a guru. I am poking around trying to find a resolution to a similar problem as you are having.

[kdwalter] “they experimented but were not able to get the footage to capture at 29.98 it would only come in at 59.94 video rate in the browser.”

Did you mean 23.98 vs. 59.94?

I can see why you’d want to add graphics and effects at the 24 frame per second stage rather than 60i. Especially if the titles were animated. The motion would be consistent with the film look.

Also, you do know that you can master a DVD at 23.98 progressive frames. The advantage of doing this is that the MPEG compression would have to compress less frames. So like you said, there are advantages to staying 24P through the workflow.

I would be very interested to hear from anyone that has successfully edited HD in 23.98 in the FCP timeline. For my own purposes, I am interested in 1080P24.

[Jerry Witt]

Tony & Gary,

Thanks for your replies. I’m trying to figure out the best work flow for this project going forward and your replies are helpful (though disappointing.)

[tony salgado] “If I may ask why did you output to 1920×1080 when the original work originated on dv? Unless you were planning to rez out to film which is highly unlikely given that you do not even have a HD card to view on a monitor this step seems like a waste time and effort.”

Well, yeah, I planned on going back to film. I think every first-time feature filmmaker has expectations of premiering at Sundance and getting a theatrical distribution deal. Even though that might not happen, I think having a HD master will add value to the project. Also, keep in mind that very few of these shots were rez-ed up to 1920 by 1080. Most were a combination of multiple shots at 100% to 120% scale, comped into a single frame.

Here’s what I don’t understand, and maybe you can help me. If someone shoots on a DVX100 in 24P advanced, they can bring the footage in and convert their footage in FCP to 24 discrete frames per second and edit without pulldown. Is their not something like that available for 1080?

Let’s say I get a Kona LH and a HD crt monitor. Can I then edit in realtime at 24 frames per second and have the Kona card apply the 3:2 pulldown when it goes to the display?

One last question: I rendered these scenes at 24 frames per second. Will I need to change these files to 23.98? If so what would be the best procedure?

Thanks!

[Jerry Witt]

[Walter Biscardi] “I don’t see S-Video as an I/O option so that may be the only real difference between the two. “

After giving the press release a closer read I see:

“For Standard Definition work, the Analog inputs and outputs can be configured as 12-bit SD
Component/YC/Composite, all via three professional BNC connectors. For SD and HD Digital I/O, KONA
LH offers SDI/HD-SDI input, and two SDI/HD-SDI outputs. Broadcast-grade Genlock is also included.”

So YC is included, it probably just needs to be software configured to use two of the BNC connectors.

[Jerry Witt]

I also bought my ioLA a little over two months ago. Had I known this product was coming down the pike, I surely would have waited. So, yeah, I’m a little disappointed. I thought I was being smart by waiting until after NAB, but IBC wasn’t even on my radar. But in all fairness, I’ve completed two projects with the system and have been very happy.

My plan was to follow the pattern so many on this board have recommended. Use the ioLA today to capture from betacam and other analog sources, and buy a Kona 2 when I’m ready for HD. The Kona LH changes my plans and raises some questions. Here goes:

1.) Does AJA offer any trade-in for ioLA users? (I have to ask.)

2.) In terms of analog i/o, does the Kona LH differ from ioLA in what it can ingest and output? (One big advantage for the LH is not being tied to the firewire port, you can probably leave your mini-DV deck plugged in.)

3.) Will the LH support the same HD sizes and frame rates ad the Kona 2? (My selfish personal question is, “Will I be able to edit and output 24 progressive frames in 1080?”)

Oh, and you probably don’t get this enough, so ATTABOY — good job guys.

[Jerry Witt]

woops 59.94… right Steve.

And Michael, you could compify again into 29.97, OR just set the render of the 25 fps comp to 29.97 interlaced.

[Jerry Witt]

I just had to do this for a DVD extras feature.

What I did was bring the footage in, with fields separated but WITHOUT any pulldown. I put this in a 59.97 comp. I then nested this comp in a 25 frame per second comp.

Sometimes I got lucky and it lined right up. But depending on what point the digitizing started, I had to nudge the footage in the 59.97 a frame or so forward in time.

It helped that the footage had keycode burned in.

[Jerry Witt]

Well DVDxDV doesn’t just save to the DV codec. You can save to ANY codec, even uncompressed. I’m confident it will give every bit as much quality as SDI out of a DVD deck to uncompressed.

[Jerry Witt]

You could do an analog convert with your Canopus. But I would recommend DVDxDV. Check it out at:
https://www.dvdxdv.com

[Jerry Witt]

Stop using the KVM?

Seriously, Although they sound great, they apparently don’t work so well. I (foolishly) bought a CompuCable KVM switch and it’s pretty much junk.

[Jerry Witt]

It sounds like one of two things:

The DVD was authored with the fields reversed. This would give you the jittery motion, especially when there is a great deal of movement. The fix for this would be to extract the video (use DVDxDV) and bring it into FCP. You could then either reverse the fields ot nudge it down one pixel and re-encode it.

The other possibility is more gruesome. They may have tried to give the video some sort of “film look” and improperly blended the frames. If this is the case, It might well be impossible to extract clean footage from it.

Doesn’t it seem odd to you that the producers that hired you to do this job no longer have access to the master? Just be careful is all I’m saying.