Michael Phillips
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COW Coin
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25p is a progressive project designed for progressive material shot on film at 25fps, or video cameras that have a 25p mode (like the DVX100). The 25p project will maintain the progressive nature of the look and feel by processing all effects at full frames and 1/25 of a second.
25i is an interlace format meaning it will process all effects at 50 fields (1/50 second). Progressive and interlace material can be used in a 25i project, the difference is in the effects. If you do a moving picture in picture, it will update is position 50 times per second. In a 25p project, it will only so do 25 times per second.
When looking at footage on an interlace monitor, the 25p effects may look more stuttery than the 25i process effects depending on speed and whether the edges are soft or hard. You can control these factors in a 25p project.
Productions will choose to work progressive when they intend to deliver back on film or web streaming formats. Also with many of the monitors now switching over to progressive (LCD, Plasma, projectors) progressive is a better looking format – but you do limit the amount of motion resolution. These are all creative choices for the type of program or look and feel you want to give the program.
Your choice –
Michael
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Which Avid are you using? On Xpress Pro and Adrenaline you can go to the FLuidmotion effects tab and drop the preset “FluidFilm” effect which will created true 24fps with 2:3 pulldown.
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That’s whay you work in a 24p project and not 23.976. SInce the original shooting rate and recording rate were 24fps with 48kHz, this project type preserves that relationship regardless of telecine tapes being 23.976. When capturing 23.976 in a 24fps project, the playback speed is automatically returned to 24fps to be in sync with original production audio.
see my article on project types for the Motion Picture Editor’s Guild:
https://www.editorsguild.com/newsletter/MayJun04/mayjun04_23-24_proj.htm
Michael
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Then make sured they create a FLEx File or a film transfer log that you import into the Avid that will have all the film source information such as camera roll and KeyKode. I have found that in Europe, this is not a common process as the negative cutter retains the database and creates a cutlist from an EDL – work this out with your facility.
You will also want to ask for a burn in of the timecode and KeyKode into the video as well as audio source timecode is a timnecoded audio device was used.
Create a PAL25p 16mm film project.
Import ALE/FLEx transfer file
Select and batch capture
Edit.If you are not given a FLEx File, log clips, batch capture and enter KeyKode/Camera roll information by hand.
I suggest you keep the dupe detection on in the timeline to at least one frame to protect for double usage and to not incur additonal costs by duplicating negative.
Once picture is locked, the bin is opened in FilmScribe and the lists are generated fromn there for the negative conform.
The user’s guide has a lot of workflow charts for setting up film projects.
Michael
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Import ALE file for picture capture.
Drag and Drop BWF files into bin. Timecode will be decoded durting imnport from the files.
Copy START timecode from BWF files into AuxTC1
Copy smartslate timecode into AuxTC1 for picture
AutoSync based on common timecode found in AuxTC1You can farther refine sybc on 1/’4 frame basis by using 1/4 frane resync butons found on the tool pallette under EDIT.
Michael
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Was the film shot at 24fps or 25fps? Will the audio be synced during telecine transfer or in the Avid? Where will audio be mixed (Pro Tools)?
Will you finish by cutting negative with a 35mm blow up?
Are you considering a 16mm to HD DI workflow?More question for you before you get answers….
Michael
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How are they looking to finish? On film, SD? HD?
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There are a lot of A companies there… Avid, Apple, Autodesk…
What are you delivering to the stations as a tape format? If a DV50 tape, the I/O is all digital over FireWire so that should be the least of the issues. If you need to deliver analog BetaSP, then you might want to consider adding a Mojo.
If you are planning on digibeta over SDI, then you would have to look into a Adrenaline or dub your DV50 master to the format.
Michael
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It should be no problem as far as project file, bins, media and settings. I am assuming DV254 capture over FireWire?
Michael
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Have you tried the AudioSuite plug-in to speed up audio but keep pitch the same? This way you can match audio to the duration needed to match picture.