If it's possible to enjoy this stuff, I guess I enjoy it too. IIRC, most SD is upper field first, the exception being DV. I think that has something to do with the DV standard saying,"no one will notice if we drop a few lines." JB
On Oct 7, 2021, at 4:28 PM, John Moore <bigfish@pacbell.net> wrote:
I"m enjoying this thread especially because the term LUT or HDR or PQ is not involved.
Done some more thinking about the multigrouping aspect and how that seems to be involved. There is a program feed and isos. You mentioned that there was a one frame offset between program and isos. If you determine that the switched output is consistent on odd or even frames then it would make sense to line the cut points to even frames of the multigroup then shift the isos to match visually. Given you have no cut points to deal with in the isos that seems like the way to go. If the switcher feed isn't consistent with cut points relative to even or odd frames you would have to use isos to clean up those cut points.
On the record timeline side, I think this has been mentioned, can you set TC1 of the record timeline to 25Fps. I would think then that would only allow you to edit on even frames but I haven't tried this.
How was the time code in production handled? Were all the cameras synced to the same master clock/sync reference as the time code generator?
If this keeps going I'm going to recall the Frame Lock Assembly for CMX and later grudgingly ISC that aligned the time code sync word by inverting the 3/4 inch control track signal to bump the non frame servoed decks sources on field to get the time code proper.
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