[Rogerdat]

so what are you suggesting gary? output to tape at 29.97 (or 59.94) via the Kona card and then re-capture into a 29.97 timeline?

be specific please…

[Rogerdat]

Yeah, this is for Discovery who require exact act break edit points at 00 as well as accurate timecode markers for “snap ins” which is extra footage added in for the european/asian markets.

I can’t have anything off network clock by even a field. That is why I need all final shows on a 29.97 timeline before outputting.

Is Nattress my only real option?

Can’t I ingest the 24p footage as 29.97, letting FCP or the camera add the pulldown and cut 29.97? This goes against everything I’ve read though…

Anyone else have this particular problem?

[Rogerdat]

The Kona 3 won’t work for me because I am doing a TV show that is cut to network clock at 29.97. That means all the intro, bumps, slates, all have to accuratley correspond to a 29.97 clock in the timeline before outputting.

I need to finalize the show on a 29.97 timeline. Natress is the only way in this case right?

Apply the pulldown and mix to the 29.97 picture or mix to the 23.98 picture and then apply the pulldown?

[Rogerdat]

Thanks Russ.

I wonder why FCP or the camera won’t add the pulldown on capture so that I can edit 29.97 and save the trouble?

Also, it’s important to finalize my mix at 29.97 right? So I should apply the natress pulldown on the cut before sending my audio off, then upconvert.

Does that make the most sense?

Thanks again.