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@johlt.com> 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@middlemarch.com
> >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]
>
>
>
> ------------------------------------
>
> Search the offical complete Avid-L archives at:
> http://archives.bengrosser.com/avid/
>
> 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.Yahoo! Groups Links
>
>
>
>
[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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