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Jim Blokland
Workflow questions
on Apr 22, 2011 at 2:00:00 pm

Hi COW-ers:

I'm about to start a one-hour TV doc that will be a combination of 100 Mbps from a Nanoflash and archival material from a variety of SD/HD sources/framerates. We are delivering an HD master at 29.97 to the network. The Nanoflash material will be coming from both a Panasonic AF100, and an HDX900, presumably shot at 23.98.

I would love to work at 23.98, and not have to jog through all the pulldown frames cutting in 29.97. I'm wondering: what framerate would you set the timeline to? Can I cut at 23.98 and then copy into a 29.97 timeline closer to the end for delivery?

Also, what codec would you recommend for the timeline? I'm assuming some flavour of ProRes would work best, which would mean all the archival would be transcoded to ProRes -- but I'm still stinging from my previous experience with XDCAM (in that case, EX 35 Mbps vs. the 422 HD XDCAM 100 Mbps that I'll have this time around) where I had no end of crashing with mixed media in the timeline, and eventually had to transcode all media to ProRes to work around this issue.

Any real-world advice is welcome.

Best, JIM.

Snow Leopard 10.6.4
Mac Pro Octo Westmere
14 GB RAM
ATI Radeon 5870
Matrox MX02 Mini
Seritek 4 TB RAID
AVID MEDIA COMPOSER 5 // FCS3


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Joseph Owens
Re: Workflow questions
on Apr 22, 2011 at 4:00:54 pm

If you take a quick peak down the list, I've stated my reasons (and FCP's preference) for working in native framerates. Its in the 29.97/23.98 pulldown removal thread.

So 23.98 would be better. Unfortunately, the 29.97 stuff won't look particularly pristine, and the conversion to 29.97 at the end of project for the entire timeline is fraught with danger, especially if this is going to tape for deliverable (assumed). FCP does only 2:2:2:4 to tape from a 23.98 timeline (unless you do a deliberate Compressor 2:3 Upper-Field conversion), and 2:2:2:4 is unacceptable for broadcast (although you see a lot of it that has somehow gotten past QA).

If you are closed captioning at the same time, the Edit-to-Tape module can only do that insertion if you are operating from a 29.97 timeline, anyway.


Things are a bit of a mess at the moment with on-line mastering.

jPo

You mean "Old Ben"? Ben Kenobi?


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Shane Ross
Re: Workflow questions
on Apr 22, 2011 at 4:54:40 pm

Work in a 23.98 timeline. Get a machine with a capture card that will upconvert your SD footage to HD (AJA Kona 3, Kona LHi, Matrox MXO2 line, Decklink Extreme 3D)...and then use Compressor to convert that to 23.98. I have a tutorial on how to do that process:

http://library.creativecow.net/articles/ross_shane/aja_kona3.php

Then you edit 23.98 from start to finish. When it is time to output, you use the same capture card to output, as it adds the proper pulldown when you output to 29.97 to tape. BUT...if you need to deliver tapeless now that there is a vast shortage of HDCAM SR and HDCAM...well... I'd rent an AJA KiPro, set it to record the format and frame rate you need, and output to that.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Rob Tinworth
Re: Workflow questions
on Apr 22, 2011 at 8:04:42 pm

Another vote for cutting 23.98. Just remember to account for the timecode shifting when you master your 23.98 nondrop timeline to 59.94 drop. It's about a 3 second shift over a 52 min doc.

Rob Tinworth
http://www.1021.tv


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Shane Ross
Re: Workflow questions
on Apr 22, 2011 at 9:04:58 pm

If you want to be a bit more precise about the timing, you can use a timecode calculator to do the conversion, like I mention here:

http://lfhd.net/2008/10/22/timecode-calculator/

That also has a link to the post I had about how to check the timing WITHOUT a calculator.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD...don't miss it.
Read my blog, Little Frog in High Def


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Jim Blokland
Re: Workflow questions
on Apr 25, 2011 at 2:42:32 pm

Anyone care to comment on second part of question, regarding mixing XDCAM HD422 with ProRes on the same timeline?

Thanks,
JIM.

Snow Leopard 10.6.4
Mac Pro Octo Westmere
14 GB RAM
ATI Radeon 5870
Matrox MX02 Mini
Seritek 4 TB RAID
AVID MEDIA COMPOSER 5 // FCS3


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Rafael Amador
Re: Workflow questions
on Apr 25, 2011 at 4:18:43 pm

[Jim Blokland] "Anyone care to comment on second part of question, regarding mixing XDCAM HD422 with ProRes on the same timeline?"
Hi Jim,
No problem at all. Just set your sequence to Prores.
Don't forget to set "Render in High Precision.
rafael

http://www.nagavideo.com


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