Michael Phillips
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COW Coin
Forum Replies Created
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Seeing as you have mixed frame rates on your sources, you will be better off in a 30i project. 30i is a bit of a misnomer and still there due to legacy issues, but the frame rate is really 29.97.
Your DV tape is also 29.97 that has 23.976 frames with 2:3 pulldown creating the full 59.94 fields of the NTSC signal.
Capturing 24p (23.976) in your 30 (29.97) will look fine, but capturing native 30i (29,97) in a 24p (23.976) project will look like hell.
Michael
Michael Phillips
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If picture and sound came in from different sources, then added to the timeline for sync, the V will still track to its original sources and audio will track to its. But not knowing exactly how the facility did the sound when bringing it in, it is hard to say, If you do a match frame then get to the bin to find the original sources, what does the Tape column say for each track?
Michael
Michael Phillips
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Interesting way to deliver dailies…
For each span of active picture/sound in the timeline, mark IN and OUT and subclip to a new bin. Rename as appropriate such as 1/1, 12A/3 etc. based on your naming preferences for each shot. Once completed, select all the sequences and then AutoSync. The sequences become a subclip with sync V/A.
Michael
Michael Phillips
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The Avid products don’t yet natively hsndle the 24fps from these cameras which is why I was assuming you wanted to go to a 25/30 project type. v3 does not either, but is on the list for the next major release as something we want to do.
Michael
Michael Phillips
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You are fine with the choice of 24fps, it is how decks deal with the timecode for the SD proxies. In NTSC, every second lines up and the frames have a 2:3 pulldown adjustment. In PAL, the decks like to recalculate from 00:00:00:00 so 24/25 will drift 4.1% over that time.
When you bring in your 24fps EDL from FCP, duplicate the column START (cmd-D) and select TC 24. This will recreate the original 24fps. Now duplicate the TC 24 column in the same manner to the TC 25 and it will ask whether you want to copy or convert. Select convert to get the 25fps timecode as generated by the deck for a PAL down convert. Now the Avid is tracking 24, 25, and 30 so you can generate EDL’s for whatever your needs might be.
Michael
Michael Phillips
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Import 24 frame EDL into a NTSC 24 frame project and then create a new EDL from there as 30 – the math will be applied for the 2:3 management to continue working in 30i (NTSC).
Michael
Michael Phillips
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Xpress Pro will pkay back a subset of resolutions (and yes, those are resolution terms). A safe one to use is to transcode to DV25 if you want to edit proxies.
Michael
Michael Phillips
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Consolidate with 0 frame handles.
Michael
Michael Phillips
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Got to the STATISTIC view of your bin and look at the Video column. It will tell you what format/res. Xpress Pro can read 115 and 175 but not 10 bit or DnxHD 36. Transcode should take about 2-3x real time depending on CPU. Another, albeit more costly solution would be to upgrade to the Media Composer software and get all the support including uncompressed while the upgrade promo is still going on?
Michael
Michael Phillips
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Drag and drop the QT file to the bin.
Michael
Michael Phillips