[Thomas Mcnamara]

“and I was told that if you capture at 1080i60 and check the “remove advanced pulldown” box in the capture settings, that would be the best way to achieve this.”

No – this applies only to footage that was laid down with advanced pulldown, 2:3:3:2; this is different than standard pulldown, which is 2:3:2:3, and can’t be removed upon ingest without proper capture card.

Best way to do this is to determine the correct cadence, a-frame, etc, and remove standard pulldown in cinema tools. Alternatively, cinema tools can do a smart reverse telecine.

[Thomas Mcnamara]

Bob – that makes a lot of sense. I think we might just leave sound finishing and such to a professional sound place, and just do what we do best here, not spreading ourselves too thin. I just needed to know what’s being done out there, so thanks a million for steering me in the right direction, I greatly appreciate it.

[Thomas Mcnamara]

Quick addendum – it seems like for normal purposes a digital mixer is unnecessary, just use a simple analog mixer for monitoring and such – this would be great, but we are planning on making one of our suites very audio-centric, allowing a lot of control for sound design, mixing, etc, so maybe in this instance we’d want a digital mixer. I guess that’s why I’m asking, is what we’d want to do in a case like this. Thanks

[Thomas Mcnamara]

Bob,

Thank you…seriously. This is exactly what I was looking for…that basically answered all my questions. Seems a lot simpler now that it’s all explained.

So if I have it right, input all my audio as embedded audio, which can be set in my kona control panel. If I need to digitize from beta, get the converter (I’ve since looked into this, seems perfect for my needs.) For monitoring using the mackie, use the k3 box’s analog out into the mixer for kona 3, for lh just use its existing analog outs.

I think I answered my other question looking more into this, to have the software based control, i.e. stpro or pro tools, I should buy something like the Mackie control universal pro, which connects thru usb for software-based control. Do a lot of people use this particular product for this use (is this a good product or do you recommend something else for this?)

This would be fine for one of our lhe bays. In our other bays with the kona 3s, to monitor embedded audio thru sdi, or to use another mixer, we aren’t by any means tied to another mackie 1604….any recommendations on a typical setup for digital vtr only embedded audio use? Common mixers, control surfaces, etc? What would be the simplest setup here – if analog is not at all an issue, using only digital equipment.

We basically want our upcoming clients to have whatever control they’ll need as far as digitizing, monitoring and finishing from an audio standpoint, if theyre using the more common digital vtrs (this will be much more common than our beta sp users).

Thanks again for your help and patience, this is one of those things that when someone lays out the big picture, it all starts making sense.

[Thomas Mcnamara]

It’s 23.98 telecined 16mm film laid into DVCPRO HD 1080i60 as our offline quality, and we’re finishing on 23.98 because we aren’t broadcasting it, we are going to DVD only and possibly film print. Thus, the need for 23.98.

If we needed to finish at 29.97, then we would stay there, but its 23.98 with pulldown on tape that we’d like to edit at 23.98 and finish at 23.98, and I think the answer is to just leave the pulldown removal to the Kona upon ingest, and if we need to recapture we’re already in the correct framerate.

[Thomas Mcnamara]

Perhaps the best way to do this is just to let the kona or the capture card do its thing, and just remove the pulldown on ingest and not even involve CT. One of the reasons to just get a capture card and let the hardware do the work. Seems inconvenient any other way. Thoughts?

[Thomas Mcnamara]

Thanks for the response, I appreciate it.

Actually, yes, this is exactly what I’m talking about. I’m just about to start a project, and I want to be prepared in case something happens. I’d definitely back up the reverse telecine footage just in case, and recapturing to the 29.97 project and then following the same steps to reverse the telecine seems like it would work if I for some reason didn’t have a good backup.

Both of those are good workarounds to this issue. My only remaining question is, then, what do people do when they are working in an offline/online environment and they digitize their high-res 24p laid into 29.97 footage into a low-res timeline, reverse telecine the footage through CT, edit 23.98 with the new footage and they want to recapture from that high quality online 24p laid into 29.97 or 59.94 master source? What is the SOP for something like this? Would this be the EDL solution you proposed? Wouldn’t you need to recreate any effects work this way?

This would of course only be relevant if the project was not destined for broadcast, because then you’d want to edit 29.97 anyways. If I was only wanting to finish to DVD and let the player add the pulldown, I’d want to stick with a 23.98 timeline, or if I was going to print back to film but wanted to recapture for some HD preview masters (or even, let’s say, that I was very short on drive space), so these would be the scenarios that I’m confused over – what is common practice here?

Thanks again for your help in advance. This forum is great.

[Thomas Mcnamara]

Suffice it to say, if you want to copy plugins, don’t do it unless you plan on using them legally; use the installation disks you purchased, or if they’re free, download them.

Besides, oftentimes plugins that are copied to a new system illegally don’t work properly, or require serialization or activation anyways.

[Thomas Mcnamara]

There are a great deal of postings right here on Creative Cow regarding this very issue – most people advise to get out of HDV as soon as you can, and Apple Pro Res 422 is what a lot of people recommend capturing to and editing. Alternatively, you could capture native HDV and render using Pro Res (this is done through your FCP settings).

[Thomas Mcnamara]

Of course. Hopefully the plugins in question are free ones only, such as TMTS or others. Otherwise, probably not a good idea to steal plugins from work.