Michael Phillips
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COW Coin
Forum Replies Created
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That’s great! I too think it has a lot of potential for many workflows, but can be hit and miss with some formats and workflows – in your case consolidate. I find that with greater than HD formats, and not in Rec.709 color space, there are some weaknesses in DMF as it cannot access any FrameFlex or Color Transform settings (you can’t even create settings in that window as it is tied to individual clips to access), RED files which are most always spanned do not work, etc. So for these types of workflows, AMA Link first, then transcode in the background is a better choice so at least Color LUT is available and the clip can now become FrameFLex aware.
Michael
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No. If the picture and sound are in sync in the 23.976 project, then there will be no issue going out to 59.94 with pulldown as the audio has stayed 48kHz all the way through the process.
Michael
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I thought that it would be with DX, the question may be with third party hardware.
Michael
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A Blackmagic Teranex may be able to do this in real time as an I/O from MC… Something to try. Can you not get a 59.94 signal from your Avid MC with DX hardware now? Or does Avid still consider that to be Universal Mastering and requires Symphony?
Michael
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I don’t think it can be done at the same time, but yet. Record to deck 1 at 23.976, then play back from Deck 1 to Deck 2 with a 2:3 pulldown inserted. The Sony HDW-F500 can record 23.976 and output any of the broadcast standards as needed.
Michael
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What camera is being used to record these files? Does MoviePlayer info list them as 24.98? A .1% pulldown confusion would have them listed as 24.75.
Would it be possible for me to get one of these files to look at? michael[at]24p[dot]com
Michael
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Good question – off the top of my head, I don’t know of any tape decks that do the conversion with pulldown for record – but some do for play out and can create 23.976, 24, 25, and 50i, or 59.94i (Sony decks). But I do not think they can do this on input.
You can always go to a deck at 23.976p and then let it do the 59.95 output as a master to another deck – is this what you mean by 23.98 mixdown workaround? The playback from the deck will insert a continuous 2:3:2:3 once recorded and is the common workflow for production masters (not broadcast masters).
The lower cost JH-3 can play back at different rates, but does not record.
Michael
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If a true 2:3 cadence is applied to the 23.976 sources, then you get a 59.94 master running at the same duration +/-1 frame due to math and where your last frame falls in the 2:3:2:3 cadence. If you’re doing a playout as mentioned, this is done on the fly and is continuous for the entire timeline.
You can open your 23.976 sequence in a 59.94 project and it will have 2:3 added to each clip. but it’s cadence will not be continuous from event to event – and I need to check what happens in nests and layers – so while it works, the MPEG encode is not as clean as with a continuous pulldown cadence. Do get around this, you could do a mixdown of the sequence as a new clip, into its timeline and open that in the 59.94 project. Since there are no events, it will be a continuous cadence. It depends on your workflow whether this is a suitable workaround or not.
Michael
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DMF currently is not a fan of spanned files for transcode, so I suspect the same for consolidate.
Michael
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Have you tried an export from the Sony XDCAM Browser?
Michael