That's an odd BBC requirement for rendering in 50I if the material is in fact 25P the dve moves etc... look better if the motion is frame not field based. What issues are they trying to avoid by this requirement?
--- In Avid-L2@yahoogroups.com, Dylan Reeve <dylan@...> wrote:
>
> If everything is 25p you might have some useful finishing options - in
> Symphony you can use Universal Mastering to do your 1080p25 output as
> 1080p24 or 1080p23.976 (effectively a 4% slowdown). The 24p master can then
> be converted to 1080i59.94 via the usual 3:2 pulldown methods.
>
> That option is not available with 1080i50 and the conversion from i50 to
> i59.94 might not give such good results.
>
> Symphony will also go from a 1080p25 project to 1080i59.94 - I'm not totally
> sure what process it uses to do that (is it going 25->24->59.94?)
>
> For most progressive "PAL" HD shows we still work in 1080i50 as the
> broadcasters often want motion effects and DVEs to be rendered in 50i (this
> is a BBC requirement, for example).
>
> Dylan Reeve
> http://dylanreeve.com/
>
>
> On Thu, Jul 7, 2011 at 9:49 AM, Tony Capelli <tcapelli@...> wrote:
>
> > We use the same camera here for a couple of shows and shoot 24p but it gets
> > onlined in 1080i/59.94 and laid off 59.94. I color correct the shows in
> > 1080i/59.94 and use 4.0.5 just like you. We haven't had any major issues
> > using the different frame rates. Some editors like to stay in the frame
> > rate
> > the footage was shot in (offline in 1080p/23.97) so they can group clips or
> > make motion effects, both of which can't be done if you're in a project
> > with
> > a different frame rate, but others have found work arounds for those
> > issues.
> >
> >
> > Our biggest issues have been if a show is offlined in the original frame
> > rate and then moved to a different frame rate any matte keys that are used
> > won't work. The sequence won't even open, so what you need to do is remove
> > them all in the original project and then replace them all in the new
> > project, that god for assistant editors. Audio too at times can get a
> > little
> > funky with spots going a few frames out of sync. We just slip them back in
> > sync when they do but we will at times come across spots where we get a
> > track that has slipped half a frame and it will cause an echo effect. Those
> > areas are the hardest to work with.
> >
> > Hope some of this info helps. To me it seems that the editors who know the
> > issues that occur when jumping from frame rate to frame rate attempt to
> > work
> > in what will be delivered for online but I think it really just depends on
> > what the editor wants. A couple of our guys are heavy users of motion
> > effects so they like to stay native.
> >
> > Tony
> >
> > On Wed, Jul 6, 2011 at 2:09 PM, jaclynlee71 <production@...
> > >wrote:
> >
> > > **
> > >
> > >
> > > Hi, I posted a couple of weeks ago, and had a follow up question
> > regarding
> > > the proper Avid project for the offline. Our producer just informed me
> > that
> > > he is going to shoot (Sony EX3) at 1080p, 25fps. Should the project be
> > > 1080p/25 or should I open up a 1080i/50 project?
> > >
> > > Project is shooting in PAL (in China): Sony EX3 at 1080p, 25fps
> > > Offlining in NYC in PAL, on a Mac, OSX 10.6.2, 2x2.6 Quad-core Intel
> > Xeon,
> > > 10GB
> > > 1066Mhz DDR3 RAM. Current version of Avid Media Composer 4.0.5.
> > > No online house chosen yet, but should I assume all online houses can
> > > handle either a 1080p/25 or 1080i/50 project?
> > > Deliverables: probably HDCAM; I'm told it will be broadcast instead of
> > > released in theatres.
> > >
> > > Thanks,
> > >
> > > Jaclyn Lee
> > >
> > >
> > >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
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> >
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> >
>
>
> [Non-text portions of this message have been removed]
>
If you want to donate to Red Cross quake relief, you can do so through your cell phone. Text redcross to 90999 to make a $10 donation. It will be on your next cell bill.
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