Michael Gissing
Forum Replies Created
-
[Dave LaRonde] “Can you reveal how you got to the actual frame rate? I’ve always known it as 23.976.”
I did it with a calculator and then fine tuned it with trial and error. There was a guide track that was done by speeding up and pitch compensating on an HDCam machine. Naturally there were artefacts but it let me frame accurately mod match the beginning and end of the program.
I did write down the number for posterity and I will look for that number. Not being a savant, I can’t recalculate it in my head or remember it. I have trouble with my wedding anniversary so six decimal frame rate conversions just don’t stick.
-
I would take my master tape to a facility with a Teranex for conversion. I haven’t used the Nattress frame rate conversion but people like Walter who does use it says good things about it.
-
Most clips that I see coming from the US into Australia are converted from 29.97 or 23.98 to 25 via a device like a Teranex that creates a PAL 25 frame version the same length (and therefore pitch) of the NTSC. These devices do this by creating hybrid fields & smart frame interpolation.
The approach you have taken is to varispeed the frame rate up. If you want to do that and correct the pitch then that is one way, but to answer the question, what normally happens, the standards conversion is not done as a varispeed.
-
I have MPEX3 software on a Pyramix system that does pitch/length conversion extremely well. I haven’t tried the tools in Soundtrack Pro.
For a short video the change from 23.98 to 25 is a whisker over 4% and the pitch correction is approx three quarters of a semi tone. I would advise talking to sound post people about doing the soundtrack correction, not trying to do it FCP.
Sync will not hold in spite of a previous comment. Every second it goes out by one frame. One long form projects I have had to calculate 23.98 to its real value which is more like 23.9759xxx. It took six decimals to make sure that the program remained frame accurate over two hours (Farscape the Movie).
And to clarify Dave & Gary – PAL broadcasters in my experience ran 24 frame prints at 25 for broadcast with the pitch going up uncorrected. Cinemas run at 24 in PAL countries.
-
I capture from JH3 machines into a Decklink Pro HD card all the time. The JH3 will be outputing 1080 24psf and that is what you need to capture. Cross converting to 720 is loosing resolution.
The Decklink card comes with a breakout cable with 9 pin machine control. A single SDI cable into the card from the JH3 will capture your picture & sound. If you have no house video sync then the Decklink will generate a composite black to feed into the JH3 for reference.
-
As we know SONY is an acronym for Soon Only Not Yet.
-
[rafalaos] “Had you ever experienced what happens when you broadcast a signal with ilegal levels?”
Yes. I started as a telecine op, grading live to air in 1976. My point is that bars & tone on a digital tape are archaic as there is no playback calibration required. If they are dubbed to analog tapes then bars & tone can be inserted on the analog dub.
-
Thanks Arnie. That did the trick. I was making the mistake of setting the Motion sequence to PAL SD anamorphic, not using a custom setup.
I was looking for a way to rescale the tiffs after import.
-
In a world of digital video, bars and tone are irrelevant. We only put them on the tape so that archaic international delivery specs are satisfied. I recently delivered HDCam masters to a Dutch distributor who complained that I had put the FCP default bars and -20db tone.
I invited them to drop any bars they liked onto the head of the tape once they had made the 29.97 HDCam master for US sales. They seemed horrified that I didn’t care less about what they did with reference on my master.
-
Although I bask in the glory of a PAL world, I am always interested in NTSC pitfalls. I have an audio post job coming up in 23.98ish so audio sync in NTSC land is of interest to me.