Michael Phillips
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COW Coin
Forum Replies Created
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Because you need to be in a 23.976 project type. See long thread below about differences between 23.976 and 24. In the case of DV, the video is really 23.976 with 48kHz and a 24p project expects 47.952kHz in order to pull up to true 24fps.
Michael
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When switching over to 1080 it is only the “project” that is defined as that and not all the source clips. The source clips all stay at their native original rate. Only sequences can be converted. If it is a source clip you are trying to capture, you first need to cut into a sequence, then convert the sequence to 1080 once in a 1080 project. This is done by highlighting the sequence in the bin and selecting “modify” from the menu. In the menu, select 1080. This will make a 1080p version of that sequence. Decompose the sequence to get the source clips or batch capture the sequence which consists of the entire clip (handles set to 0 in this case).
Not the most intuitive way, but the way it is currently implemented.
Michael
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Thanks, and yes, that is your only issue for sound…
Michael
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You need to get to 11.8 at the very least to get a 23.976 project type. And yes, working in a 23.976 project would eliminate the need for you to do the sample conversion to maintain 48kHz while changing its duration to be .1% faster to be in sync with 24fps images.
Michael
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First of all, 24p or 23.976 does not define resolution. It only defines a frame rate and image structure (progressive or interlace). 720p is also HDV but also HD with DVCPRO HD from Panasonic.
24p does not exist as a native SD format but does exist in HD. HD can be 1080p/24 or 1080p/23.976. 720 can be 720p/23.976 (which is a 2:3 pulldown into 59.94).
One can think of 23.976 as being drop frame, but it should be clear that drop frame timecode does not exist in 23.976. It is a playback rate counted as 24fps timecode. If you want broadcast time while editing, set the sequence timecode in your timeline to 30fps drop frame.
23.976 does exist in SD (DV cameras) as part of a NTSC signal with either NORMAL or ADVANCED pulldown. In this case, the 24p or the 23.976p (frame rate) refers to the rate at which the image was captured sometimes referred to as the motion resolution. The motion is captured as true 23.976p and then stored as a SD signal compressed as DV with one of two pulldown cadences.
The choice of project type is defined by the frame rate of the camera during production and the audio sample rate. Of course you can cross over into one or the other but you will go through an audio sample rate conversion when doing so since in both cases the sample rate in 48kHz. Changing just picture to the other frame rate and not the audio would have the audio drift by .1%.
The HDW-F500 VTR can take a 23.976p, 24p and 25p tape and play out back at 23.976fps, 24fps, and 25fps. In each case, the audio is staying at 48kHz and the deck is fondly referred to as the world’s most expensive audio sample rate converter… 😉
24 frame based television is done at 23.976 since it allow for a clean 2:3 pulldown inside the NTSC rate of 59.94 fields per second (29.97fps). This is true for film or HD. But film at 24fps get an audio sample rate conversion during the film to tape transfer at 23.976.
24fps is typically used fro feature films since the acquisition is at 24fps and the audio is brought straight in for syncing. In this case, you need true 24fps.
The Avid products allow 24fps and 23.976 timelines to go out as 23.976 or 24fps depending on your final distribution needs.
In the end, a frame is a frame for picture, it just plays back at a given frame rate, but audio is a different issue since 48kHz is a constant and needs to remain at the rate regardless of playback rate – so in many cases it needs to go through a sample rate conversion or analog to digital or digital to analog.
Michael
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I am also doing a seminar for the MPEG in NY next week on this very topic as well as in LA for the MPEG the week after. Check the MPEG site at http://www.editorsguild.com for more details.
Michael
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You can use Studio to edit the offline, but not the finishing since it does not support HD-SDI capture.
For offline, you can use a JH3 deck with the DV25 down conversion option to edit offline at DV25 with a 23.976 timeline.
Michael
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DS does not do native HDV so you will not be able to stay native HDV throughout the entire process. DS will do the online as uncompressed HD or as DNxHD coming from a HDV to HD-SDI converter such as the one from Miranda.
If DS is going to be the online finishing system, then I would suggest you consider using Xpress Pro as your offline where you can use AAF and AFE for a much better conform (including titles and FX) than you would get from FCP to DS via EDL.
Michael
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According to tmpg Encoder Express, it supports QuickTime in its latest version as input:
https://www.tmpg-inc.com/product/tsve_spec.html
Michael
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I thought I remembered seeing a posting about a trick or plug-in for tmpg to accept QuickTime files (reference or not). I will dig a little bit, perhaps someone here knows.
Michael