Shane Ross
Forum Replies Created
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How was it captured? What capture card/device was used? Once you find out what settings were used to capture it (say the Decklink 8-but uncompressed, or decklink 10-bit) then you need ot use those same EXACT settings on our other machine.
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Quick and easy solution to ensure broadcast safe? Sorry, there really isn’t any.
Color correcting and prepping a show for broadcast is a highly technical skill. So much so that there is an ENTIRELY separate class of editors who specialize in this process…called “Online Editors” Not only do they assemble the shows at full resolution, but they capture the material at the appropriate levels (bringing it in as legal levels) when possible…then color correct shot by shot when needed to bring the show into “legal” limits.
Just dropping a filter on a neste sequence then calling it a day is an example of what NOT to do.
Open your workbench…go shot my shot and use the 3-way color corrector to bring each shot into legal limits. There is even a preset FCP layout for this purpose. And turn on the setting (gads I forget what it is called) that gives you a green check mark when things are legal, and a big red exclaimations point when you are not.
Quick and easy are terms that don’t really belong in editing for Broadcast Television.
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I would think not. Two compeletely different HD resolutions. You’ll have to convert one to the other…or drop the other one in the timeline and resize and render.
The only way to mix formats is to render one of them, or captur them using the same codecs.
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#2 Playback is blurry
Shane’s Stock Answer #2:
https://docs.info.apple.com/article.html?artnum=24787
DV footage requires large amounts of data and many computations. In order to maintain frame rate and be viewable at a normal size, only about one-fourth of the DV data is used in displaying the movie to the screen. However, the DV footage is still at full quality, and is best viewed thru a TV or NTSC monitor routed thru your camera or deck.
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Yes…and here is the workflow:
https://discussions.info.apple.com/webx?14@310.IFDLa2ZTYqO.0@.689a002d
Didn’t know if it would work with the DSR-45, but it does nicely with my DSR-11.
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Which camera?
With print to video you need to manually press record on the camera when prompted. And it does prompt you.
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23.98.
24 fps is the rate of film.
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OK…if your final output is going to be DVD, then yes, editing in a 24 frame sequence would be fine.
My only point was that if the final output was going to tape…that digibeta was going to be the master, then going to a 23.98 timeline wasn’t the answer, since digibeta cannot run at 23.98 fps.
Mus didn’t answer my original question about the ultimate format that it was ending up on, which is why I kept pounding my point.
Sorry for the confusion.
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AH Now I get what you are saying. I get where you are coming from. But I still disagree.
[guy] “very possible to output a 23.98 timeline onto digibeta as 29.97 with 2:3 pulldown. I know this because I’ve done it. All you need to do is apply the 2:3 pulldown on output.”
There is absolutely no reason to edit in a 23.98 timeline. Nothing is gained. It was shot on film and telecined to tape…it already looks like film because it was. Not one show that I have worked on, or know of, that was shot on film, has ever edited on a 24 frame timeline. We have always edited on a 29.97 timeline, and have never had any issues with flicker.
What do you gain by doing things your way?
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[guy] “It’s possible to do a reverse telecine from the 29.97 digibeta master during the DVD encoding and restore the original 23.98 progressive frames. If that’s going to happen the footage should be edited at 23.98 or at least onlined at 23.98 to ensure constant 2:3 cadence on the digibeta master”
Yes, it is possible to do that…IF YOU ARE GOING TO DVD. If you are onlining on digibeta, you have to be editing at 29.97. Digibeta does not play back at 23.98, and therefore cannot accept a 23.98 timeline or EDL. If your final destination is going to be digibeta, you ABSOLUTELY should not edit at 23.98…PERIOD. Stick to the 29.97 timeline. Digibeta cannot be onlined at 23.98…it only runs at 29.97.
Sorry to be so repetetive, but you don’t seem to be getting that digibeta only runs at 29.97, and therefore accepts only a 29.97 timeline or signal. Editing the footage at 23.98 would be counter productive and cause problems.
[guy] “Can you do the same thing with 29.97 digibeta masters by reverse telecine to 23.98 during the online? Would that work?”
No. The only tape format that runs at 23.98 is HD. There is no SD tape format that runs at 23.98.
So…to add emphasis…if you are mastering on tape, DO NOT REVERSE TELECINE TO 23.98. Stick to a 29.97 timeline.