[Sergey Levchin]

thanks again, doug –

i will give this a go and see how it compares with the upconvert on capture that i did over the weekend.
that turned out not too badly. for anyone thinking of going through the same motions:

outputting a 525p 23.98 timeline to 525i 29.97 Digibeta tape,
then reingesting as 1080i 29.97 via the Kona 3
and finally running a reverse telecine on the captured footage –

this gave me a fairly decent quality 1080p 23.98 clip that is frame accurate to the original 525p 23.98 sequence. I ran reverse telecine tests with CinemaTools, After Effects and Compressor. There is virtually no difference – but there were a few moments where I thought CT gave a slightly crisper frame.

I will try the upconvert on output and see how the quality compares.

[Sergey Levchin]

Thanks for answering my post, Doug.

I was under the impression that doing a hardware upconvert would give me better quality than outputting from a DV NTSC timeline to HDCAM. (And so the painful process of outputting to DigiBeta and reingesting at 29.97 was all worth it for that Kona 3 hardware upconvert).
Is this wrong?

I have a Kona 3 card and an HDCAM deck at my disposal.
Can you tell me what is involved in “printing directly to HDCAM via Kona 3”?
What is the workflow? What kind of settings should be used?
If there is a thread or tutorial somewhere on here specifically about printing SD material to HDCAM via Kona 3? I can’t seem to find it.

many thanks

s

[Sergey Levchin]

thank you chris, a very interesting response. i don’t know whether the footage was shot in 24p or 24pA because it is a video transfer of film footage. the transfer house told me to set my timeline to 23.98fps, rather than 24; does that mean one or the other?

the clip is playing at its normal speed. (is that what you mean by slowdown?) and, at any rate, i had pulled the frame from the subclip, before putting the subclip into the timeline. (is it better to make a freeze frame from the master clip, the subclip or the timeline? or is it irrelevant?)

finally, is it because TV screens work with interlaced fields that video footage only looks right on them? what if one is working with true progressive footage, can a computer monitor give a reliable image then?

thanks a lot for your responses

[Sergey Levchin]

thank you both for your responses. some further questions:

– could this be an interlacing problem if the video was shot in 24p?
– what exactly is keeping FCP from displaying the image properly; i.e. why do i need a video monitor to see the image correctly?

thanks again