Michael Phillips
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COW Coin
Forum Replies Created
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Are the files from the Cinedeck the master or proxy files? That would change my recommendation as to format. If only proxy, then you would ask for DNxHD as the workflow will be much faster than with ProRes. I recommend AMA only for the access and selection process, not for the entire edit.
AMA to the files and do a consolidate of the DNxHD files – this will basically be a copy to Avid managed media. AMA to ProRes and a consolidate is a retranscode, thus much slower. For Avid managed ProRes is done via fast import.
And if proxy for a higher resolution format, I would suggest some tests to ensure proper file naming on source to match back to original, timecode accuracy and such. Then there are the questions on audio – double system, syncing, etc.
If the Cinedeck is recording the camera master, then I would suggest you go with the highest quality format, resolution offered. I would suggest either ProRes 444 or Cineform. And the question here is whether a LUT will be applied such as LogC for ProRes 444 files. If so, then you need to decide how you want to manage color space during the offline.
Michael
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I think you will see better integration of multiple input and interactive approaches to most application, whether it be touch, voice, eye tracking, mouse, keyboard, etc. For now I can see multitouch combined with mouse/tablet as a pretty nice interface. On my Bamboo tablet with touch, I hold the pen a certain way that still allows my two fingers to scroll, tap, etc. and quickly use pen for precision. My other hand is on the keyboard for text entry, modifier keys, shortcuts, etc.
Michael
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You can, but I wouldn’t worry about at this stage.
Michael
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If you are indeed going to recapture at 23.976 for HD conform, then you would be much better served working at NTSC 23.976 or 1080/23.976 at DNxHD 36. Editing 24 frame sources at 30 is subject to +/- 1 frame adjustments at edit points, not to mention composition, tracking and such are much better done on the original frames without the extra frames inserted.
Matchback is not only for KeyKode, but tracks the pulldown cadence correctly for the A, B, X (second B), C and D frames. This will assure that the adjustments stay at one frame – rather than 2-3 if not done tracked correctly.
Michael
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OK – so the “A” frame cadence tracking may come in handy downstream. Are you in a matchback project? If I remember correctly, you mentioned the HD was going to be recaptured at 23.976?
Michael
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Whenever dealing with 24 frames source inside a 30 frame signal, it is best to go NDF as the “A” frame cadence remains constant should its need ever come into play.
Are you editing in a 23.976 project, or 29.97i (30i)? If all sources were shot at 23.976, you should edit at 23.976, then output as 59.94i when done for deliverables.
HD-SDI signal via VTR/decks are always PsF. It’s only a means by which a progressive frame is transported as two 1/2 frames so it can take advantage of legacy infrastructure. But once in the NLE, the frame are all treat as progressive. So set it to PsF.
Michael
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As far as the Mark III – even with timecode, there is no drop frame standard for 24fps timecode. So don’t believe anyone that says their footage has 24fps DF timecode.
As far as the tapes go, is there anywhere on the deck that indicated whether it is drop on non-drop on the source before being modified via switch? Are they shooting the F800 at 23.976? If so, rule #1 applies unless you got the deck set up to cross-convert to 1080i and then you would choose whether you wanted that to be drop or non-drop. Is that what is happening?
Michael
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As Job says – there is no such thing as a 24fps TC with drop frame count. Are you using a Canon 5D that has timecode support? I would love to see one of those files, especially if it is declaring itself as drop frame…
Michael
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Media Composer only outputs all fields when playing, not during pause, but someone is welcome to correct me as I never work in interlace projects. Since you’re coming in HD-SDI, you get what you get as there is no control when ingesting via digital formats/signals. It’s basically a clone from what’s on that tape.
Michael
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Yes, that’s normal. Since you’re only looking at the first field of each frame, a 2:3 pulldown cadence will look like what your seeing. It’s actually the 2nd frame you’re seeing duplicated assuming “A” frames on NDF timecode ending on :x0 or :x5 Where it is ABBCD.
Michael