Canon Workflow for Broadcast Commercial
We've recently run into an issue where footage has been appearing jerky after down-converting from 23.976 to 29.97 for broadcast.
My original work flow was to convert the Raw footage to HDV1080p24, then edit in FCP/AE, render out at that 23.98 frame rate and import to FCP. Lay that 23.98 mov file and lay it on a 29.97 HDV timeline and render out from there using Quicktime conversion h.264 at best settings, manually use the 29.97 pull down available and either use 720p or NTSC 4x3 for size.
I've been told that was absolutely wrong, which is fine. I'm all about learning.
Now I plan on doing it the following way:
Use Compressor to convert all footage to ProRes 422. Then use After Effects to actually do the frame conversion, as such:
In After Effects, use 1920x1080 square pixel comps at 23.976. Once done editing, render out but mark the fields as Upper (was told to use upper for all 1080i broadcast media) and use the WSSWW pulldown option, which will create a 29.97 frame rate...render out.
Same thing for an SD spot, but take the Main comp and create a new one at NTSC D1 (720x486), but keep it at 23.976 fps. Do the same render pulldown conversion and bingo.
For the file format, I'm using Quicktime, set to "none" for compression. Obviously the stations can't handle these files, so I've been told to import those rendered AE Quicktime files back into FCP and lay them on the timeline from there to be re-rendered out. When I did that, I get skinny bars on the sides of the frame and the What settings should I use to send to the stations? Again, they've been accepting H264. Should I use Compressor rather than FCP to make them broadcast quality? and What specific settings should I used? I know some stations are particular, but the people at master control aren't necessarily the most helpful. I'm just trying to get the best quality with the smallest file size for broadcast.
Thank you in advance for reading this monster of a post!