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Thanks Chris!

That makes life a little easyer. Does FCP import flexfile pretty well?

D5 can record at any speed right?

Chris

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Just to let you know, I did the search. Didn’t really get the info I need.

I guess my big questions are:

1) If we are never going back to film… Will a Telecine at 29.98 look OK? And can we edit at 29.98 without worrying about about pull-down and keys?

2) And will it look less film like, if we are no longer at 24 even if it was shot at 24?

Thanks Again, Chris

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Wow! Thanks so much Graeme, good stuff to know.

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I just did a PAL 25fs to HD upconvert. We used a Teranix to up convert it and blow up the PAL to fit side to side, which cropped the top and bottom, which was fine because the footage was full app. So it was just like an 2.35 extraction.

HOWEVER, It looked like poop. I mean really really really bad. If you have to do this just keep the black side bars, unless your client is blind.. then I guess it doesn’t matter.

Chris

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Hey Tom,

Thanks, but I was being kind of smart arse. 😉 I always hear about “Cold Mountain”. I’m going to start caling it Mold Mountain, because its old news! I guess I’m kind of whating to here about other big films done on FCP. Like the film I am helping out on right now “Yellow”! Not as big as MM, but still a nice little film.

https://imdb.com/title/tt0488349/

Thanks, Chris

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Cold Mountain? Wasn’t that done back in the 80’s?

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Thanks Todd!!!

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“And it’s no secret that lots of TV animation has been done offshore for years now.”

Major Film Animation too.. “Curious George” was done in Philipines, Canada, Korea, a few US studios.

I heard Warner Brothers Feature Animation is selling off all their light tables.. Kind of sad.

“We’re not offshoring anchors yet, but anything behind the camera should no longer be done onshore.”

What Hogwash..!!

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Thanks Shane!

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FYI

Q) Just trying to get this right. As I understand it, any new D5 deck will record straight across PAL to PAL. But we would have to use a Teranex to covert it if we wanted 24 NTSC. Also, depending on the deck, a newer D5 deck is capable of playing 25fs at 24fs and 23.98, BUT NOT 30fs. I guess this a “math thing” or maybe it because the deck would actually have to create frames to play at 25fs at 30fs. And that frame rate change would cause the audio to slip by 4%, changing the pitch. Would the pitch would be lower?

A) By saying Pal I assume that you are referring to HD 1080i 50i….If that is the case then yes, you can play back a 1080i 50 master and dub it to another 1080i 50 tape….The Teranex is used for upconversion to HD from standard def, and used for HD cross conversions (59.94, 50i, 720p to 23.98 etc…) The D5 3700 deck has been around for a while but it is the newest version available..It will do pretty much do everything including 59.94 30 frames per second…The 4% that you’re talking about is the difference in trt when converting form ntsc to pal or vice versa…Your audio & pitch will be fine the total duration (trt) will be the only difference….Hope this helps

Q) So the 3700 will play back any tape at any speed? And if I’m playing a 25fs tape at 24fs, the trt will “increase” in time?

A) playing back a 25fs master would need to be cross converted through the teranex to 23.98…The trt should be slightly longer….

Q) So the 3700 can not play any tape at any speed?

A) No,I mentioned this to you before: If you master in 24 you can….
1.pb 24 fps to 24fps
2.pb 24 & output 59.94 (30fps) from the machine
3.pb 24 & output 720p (30fps) from the machine
4.pb the 24 @ 50i & output 25fps

Q) but if I master on D5 at 25fs, is this true?

1.pb 25 fps to 24fps
2.pb 25 & output 59.94 (30fps) from the machine
3.pb 25 & output 720p (30fps) from the machine
Or do I only have these options if I master at 24?

A) Only in 24 you can convert machine out….If mastered in 25 conversion go through the Teranex