Shane Ross
Forum Replies Created
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[guy] “their are advantages to editing @ 24 (or 23.98) even if not going back to film”
True, but only if you are encoding directly to DVD, or have had your footage telecined to HD, which runs at 23.98 fps. Digibeta runs at 29.97 fps, and you can only output to digibeta at 29.97. Performing a reverse pulldown and editing 23.98 will only complicate things. If your footage has been telecined to digi, and you are onlining on digi, stay at 29.97.
[guy] “One is that you don’t have to worry about jitter frames as mentioned”
If your telecine was performed properly there will be no frame jitter. Most broadcast television (THE WEST WING, THE O.C., JAG, 24, LAW AND ORDER) are shot on film and telecined to digibeta, edited offline, then onlined on digibeta…all at 29.97 fps. No jitter.
If you are going directly to DVD from your DVCAM masters, performing a reverse telecine using CT to 23.98 would be fine. But ONLY if you are going to DVD.
[guy] “I don’t know how the offline/online works when using CT to do reverse pulldown. Anyone here done this?”
Yes, but my workflow called for it. A short film was shot on super 16mm, transferred to D5 (HD) then downconverted to DVCAM. I used CT to convert the flex file (ALE – Avid Log Exchange) into a FCP batch capture list. I then captured all the material at 29.97 fps…then used CT to perform the reverse telecine to 23.98 fps. Since my masters ran at 23.98 fps, the fact that my offline footage ran at that speed was fine.
You can also edit the entire show at 29.97 fps, and use CT to convert your 29.97 EDL to a 23.98 EDL.
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If you shot on film Cinema Tools is essential to your project. Even if you are onlining to tape, CInema Tools decodes the flex file (which you should ask for) and allows you to turn it into a batch capture list for FCP. It also hold a lot of useful information SHOULD you ever need to reference the film again…and you just might.
The other workflows mentioned are all good. Telecine the film to Digital betacam (digibeta) and either transfer to DVCAM simultaneously (simul dubs) or have the DVCAM dub struck from the Digibeta masters, making sure that the TC matches exactly.
Now…what is your FINAL destination? Online the Digibeta masters? Go straight from your DVCAM capture to DVD? Have the negative cut?
If you are onlining the digiebetas and will be staying on tape, stick to a 29.97 timeline. NO need to go to a 24fps timeline unless you telecined to HD or are going to have the negative cut.
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Another option is to use the Media manager to create a seperate sequence that you will then use to capture only what you need. Workflow laid out here:
https://www.kenstone.net/fcp_homepage/offline_rt.html
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Pulldown only refers to footage shot on film and transferred to tape, or footage shot 24P or 24PA where the footage what captured at 29.97 fps and pulled down to 24 fps or 23.98 fps.
How was your footage shot? What do the horizontal lines look like? Are they visible when viewed on an external NTSC monitor or TV?
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Export the 29.97 EDL from FCP…import that into Cinema Tools, use CT to conform the EDL to 23.98, export the new EDL..
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You need to talk to the lab and ask them what they need for the film transfer. They might require an Animation quicktime, or some other very specific setting.
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When working with DV footage in the timeline, you must have the DV/NTSC (or DV/PAL if you are in Europe). These should be your timeline settings.
As for exporting, it depends on the reasons and destination for your export. If you are using DV footage the best you are going to get is DV/NTSC. Exporting uncompressed or none gets you nothing. DV footage is already compressed 5:1 when you shoot it, and when you capture it with FCP it is a straight digital transfer so it is still 5:1.
The only thing gained by taking your DV footage into an uncompressed timeline is if you are working with lots of graphics and text. But then you need a way to get that uncompressed footage off the computer.
What is your workflow? what is your ultimate (final) destination? DV tape? if so, nothing is gained by going uncompressed. Beta? DVD?
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Search HDV in this forum, or the Apple FCP forum and you will find HUGE discussion s n the topic.
In short…HDV is not supported by the current version of FCP, but might in future versions. The current versions of iMovie and Final Cut Express do support HDV, so you can try to capture with one of them and work with the footage in FCP, or go to http://www.lumierehd.com for another solution.
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Make sure your timeline settings (sequence settings) match the settings of the clip. If the clip was extracted using DVDxDV, then the settings are DV/NTSC 29.97. Make sure the timeline settings match.
I WISH you could change the font and font size in the browser, but at this point, that isn’t a possibility.
I assume you have a Powerbook? that allows for an additional monitor that will “span” and not just mirror what you have on the laptop monitor. Get the Dell 2500 Wide Aspect 20″ Flat Panel monitor. $500. Sharp.