Matthew Nelson
Forum Replies Created
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When NTSC standards were laid down in 1948 there was only luma. The frame rate was set at 30 or more accurately 60 fields per second. The reason this was selected was so vertical sync could be tied to the AC frequency the TV was plugged into.
When color came along instead of telling everyone to throw out their TVs and buy a new ones. Engineers settled on a system of integrating a chrominance subcarrier onto the existing luma signal. But there was too much interference between the two. To make room for color the luma frequency was dropped .001% to 59.94. This made for exceptable video but interference can still be seen in dot crawl on hard edges and rainbowing in areas of tight patterns.
Drop frame was created to compensate for this frequency change so TC will match the wall clock. In a 1 hour program non drop TC is 108 frames over the wall clock. So the first 2 frames in TC at the start of every minute are skipped except minutes that contain a zero ie 00, 10, 20, 30, 40, & 50.
The difference between 30 and 29.97 is so slight that no one can tell the difference. Just drop the footage into a NTSC sequence and ETT away. But if you are really concerned you can conform the QT in Cinema Tools to 29.97. I guarantee you’ll not be able to tell the difference.
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If every frame was shot in 23.98 mode you can set the deck’s frequency to 23.98 and capture that way. When I did that I had to use the 1080 23.93PsF setting. That was with BM Decklink, Kona maybe different. But for further understanding DVCPRO HD only records 59.94P. When you set the frame rate what you are doing is setting a telecine cadence.
The other option is to capture in native DVCPRO HD 720 59.94P and use the frame converter tool to generate your 23.98 clips. This might yield the best results. Either way I’d stay in the DVCPRO HD codec it has a bit rate around 12 to 15 where ProRes HQ is around 28. No sense in adding data that wasn’t there to begin with.
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First you need to go into FCP user preferences/Audio Outputs duplicate the Stereo Monitoring setting and change it to a multi channel setting. ie 4 channels for Digibeta. Then create a sequence that just has the number of audio tracks that match your multi channel setting. Then lay in the audio according to tracks you want them to be on tape.
I only use ETT but this should work for crash records as well.
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First you need to go into FCP user preferences/Audio Outputs duplicate the Stereo Monitoring setting and change it to a multi channel setting. ie 4 channels for Digibeta. Then create a sequence that just has the number of audio tracks that match your multi channel setting. Then lay in the audio according to tracks you want them to be on tape.
I only use ETT but this should work for crash records as well.
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I had an issue were the operator was trigger happy with a camera on free run. What I did was capture the tape as a non controllable device. Then I laid that clip back to a new tape with continuous TC. Then I logged and batched from the new tape. The reason for the extra steps and time is that I now have batched media I can recapture and relink to if FCP took a dump.
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I wholly concur. XSan is not the way to go for such a small setup. I would look at Facilis. But whatever solution you go with I would purchase the highest grade support service that is available. Shared storage adds a layer of complexity that can cause real havoc at the most inopportune times. But what it works it really streamlines post.
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This happens to NTSC as well. This occurs at every insert point. I tested this with frame counter video. Every insert duplicates the first frame. I hope Blackmagic is listening. This is totally unexceptable issue that was not fixed but version 6.4.
Matt