Sorry for the confusion.
Two different situations.
True 29.97p 1080 (no pulldown - full 30 frames) in a 60i project. File based via SxS or P2.
True 23.98p 1080 (no pulldown added) in a 60i project. File based via SxS or P2.
My preference is to tell folks to go ahead and shoot 23.98p as the Avid will add pulldown so they can get great 60i masters as they are accustomed to. AND NOT TO SCREW AROUND WITH 30p junk.
My concern is that the Avid pulldown insertion via "motion adapters" is not as nice looking as when cameras or decks add this to 23.98 frame rates. Opinions?
The other attached issue is using a varicam shooting 720 24p (over 60fps). We just pop these tapes in our deck and have it spit out very nice looking 1080i or SD 60i.
What happens with the P2 varicam (2700)? At 24p. When over cranked to 48fps?
Chris Magid
RTVF
--- On Sat, 1/9/10, johnrobmoore <bigfish@pacbell.net> wrote:
From: johnrobmoore <bigfish@pacbell.net>
Subject: [Avid-L2] Re: Mixing 1080p and I
To: Avid-L2@yahoogroups.com
Date: Saturday, January 9, 2010, 8:07 PM
At first you posted the material from the ex was 29.97P. Is it really 23.98 with pulldown. I thought you also said there was tape from the ex camera as well as files. In the SR tape world there is little difference to a 5500 deck between 59.94 1080I and 29.97 Psf electronically. The only difference electronically is the broad pulses. You can insert edit onto a blacked tape with either format. The machine will tell you what the signal type is. Of course you don't want a master bouncing back and forth cause somebody will raise a flag but as far as I can tell the tape plays just fine. When it comes to a file I don't know if Avid will balk at an import of say 29.97P into a 59.94I project. Certainly worth a try. My gut says if you have tape let the playback deck add pulldown and do the project in 1080I so all you other media will play nice.
Makes me wonder if there is a way to alter the files metadata from P to interlace like you can with cinema tools conform to a different frame rate. Perhaps one of our coding dudes can shed some light on how an ex file flags the video signal type.
--- In Avid-L2@yahoogroups .com, chris magid <chris_rtvf@ ...> wrote:
>
> Okay. Few questions. Haven't felt this stupid in a while. Still trying to wrap my head around some of this file based stuff.
> The format mixing in the new composer releases certainly adds some flexibility.Â
> BIG QUESTION: What does it do to 23.97p material cut into a 60i timeline. IS IT APPLYING pulldown on the fly? What is the quality of this pulldown? Can you determine the pulldown cadence? And since it has to be doing it on a clip by clip basis how does dissolves between two clips with  "motion adapters"?
> That is my main concern. I want clients to shoot 23.97p for the "film look" they love. But the biggest part of that is the look and feel of pulldown.
> What happens with 60i material in a 23.97p project? If this is from a film to tape transfer or other file with pull down already in it can "motion adapters" remove that pulldown?
> What is the performance hit for this?
> Overall we still master to 1080i and 720i. In the past acquisition via tape based cameras added pulldown to 24p material as it was recorded or on capture via tape. Now with file based cameras the material remains 24p on ingest. We still have to mix a lot of the older tape based stuff into edits and graphics created at 60i. So that is why we like to use 60i projects as the common denominator. It is all for broadcast anyway.
>
> --- On Sat, 1/9/10, Job ter Burg (L2B) <Job_L2@...> wrote:
>
> From: Job ter Burg (L2B) <Job_L2@...>
> Subject: Re: [Avid-L2] Mixing 1080p and I
> To: Avid-L2@yahoogroups .com
> Date: Saturday, January 9, 2010, 3:33 AM
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> "Chris" (09-01-2010 02:09) :
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> > Client shoots 1080p 29.97 on ex3. Has 1080i material on tape too.
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> > Wants 1080i edit and sd 60i broadcast master.
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> > Advice on worflow? Project type? Mixing formats?
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> Chris,
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> You own a Symphony, right? So if you bump to v4, you can simply import or
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> capture footage in a matching project type. So the 1080/29p would be
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> imported into a 1080/29p project. The 1080/60i would go into 1080/60i. Then
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> you can create any type of project and open the bins from any of the capture
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> projects and instantly cut them into your show. There will be Motion
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> Adapters applied automatically and in realtime.
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> I think that 1080/29p is Symphony-only. So if you don't have a Symph, you
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> might need to work around that a bit, by importing it into 1080/60i. There
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> was some discussion on that on this list a while ago, don't remember the
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> specifics.
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> --
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> Job ter Burg
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> film editor - NL
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