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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

I'd kiss RCX-Pro on the mouth if it would do 3:2 pulldown.

P

Paul J Steinberg

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Incredibly some folks, usually the national broadcasters, still have an issue working with 23.98P material. What would be a MASSIVE help would the ability to apply a pulldown and conform 23.98P R3D files to 29.97P or 59.94i when making quicktimes/MXF files. The Red Rocket card is doing the pulldown in realtime for the HDSDI output, can the same hardware be used to do it for file output?

Could you drop this one in the suggestion box?
 
While the suggestion box is open -

Click-and-drag to set framing visually please!

With a contrainable aspect ratio, this would give me so much more flexibililty in using the excess of resolution in 5kFF to creatively re-frame. Number bashing in the framing dialog feels like harder work than it should be.
 
John, you've been able to adjust framing in the viewer for quite some time now. Am I understanding you correctly?

Cheers,
David
 
The constrain aspect needs fixing in my experience, does crazy stuff - but maybe its specific to me / my setup? Happy to share further if the expectation is that this is all working smoothly; maybe I have a system or config issue... PM me if that's better :)
 
Ah ok .. just wanted to make sure we we're referring to the same thing. Yeah I've fixed the aspect ratio issue for the next build. Hopefully soon!

Cheers,
David
 
Great stuff. Re-reading my post its not very clear, sorry! Typing while watching tv = poor communication...

I understand the odd behaviour with group selection / changes to look settings going places it shouldn't is getting fixed too? Sounds like happy days for me from the next build onward :)
 
The problem with adding 3:2 to your source media is that when you edit it, you won't likely achieve constant cadence in the end product. Generally, that's why you edit 24p as 24p and apply 3:2 only on the end product when mastering to 29.97fps.

Graeme
 
Graeme I TOTALLY agree but the broadcasters are set up in a 60i world and ANYTHING else is different and different=bad for them. They're working primarily with 59.94i media and then trying to cut 23.98p footage with it. Avid supposedly doesn't like to do that and only their top online editors typically have the knowledge to make it work and the willingness to do it. As far as the broadcasters are concerned, Red is considered an expensive commercial camera/format.

With HD tape they would shoot 23.98p but the VTR's do the pulldown so they could ingest and edit at 59.94i with final output as 59.94i. With Red media they are still sending the stuff out to be conformed to HDCam tape so the VTR's can do the pulldown for them and they can ingest 23.98p material as 59.94i. The broadcasters love the images they see from Red but the extra cost of the tape conform make them a little reluctant to use it at times.

IMHO. having an option to apply a 3:2 pulldown on RedCine-X (pro) output would make a huge difference in increasing the acceptance of Red with broadcast clients.
 
Are these the same broadcasters that put a constant cadence requirement in the spec? With almost every TV now progressive, you don't want the field interpretation chip having to guess and re-sync cadence on every edit. I do understand and get what you're saying... What's the situation where you have primarily interlaced footage and are cutting in 24p though?

Graeme
 
Paul and Graeme,

I can confirm Paul's problem. I am more often than not shooting 30p for my broadcast clients (just today actually) because they look crosseyed at me when I say that I can only give them true 24p out of my Rocket if I shoot 24. They love and want the 24p look but the editorial staff barfs on anything thats not at least 30p if not 60i. I would give a big atta boy to you guys if a pulldown could be inserted at the RCX Rocket stage.
 
Taylor, are you giving them clips as files for edit into interlaced material from another source?

Graeme
 
Yes! I work a lot with sports broadcasters that use my footage for teases and promos. They are cutting into all 60i camera footage often Sony HDCam. They all edit on Avids and can't mix frame rates on timelines. We could probably figure out some workaround for them but they really don't want to hear about it. The producers want 24p sexy stuff but their editors nix it often. If I am shooting footage that is to be used by itself in a project they can manage it grudgingly. But as to mixing ...no way

Thanks for thinking about this...I had sort of given up. 30p looks good too thankfully

Taylor
 
Taylor, for your particular application I'd shoot 30p. I don't like 30p myself as it's not very compatible with the rest of the world, but sports stuff isn't going to have the same worldly requirements as drama. 30p will edit into the 60i timeline better than 24p and still look utterly sexy. Most people won't tell 30p from 24p anyhow...

Graeme
 
30p is my life for these folks and frankly most think its 24p anyway. Except for the increase in file size and a bit longer renders I have come to like it. Thanks for listening and I can rest easy knowing that I am not missing some great workflo tricks. Still would like to have the pulldown feature in RCX....

Thanks again

Taylor
 
I have the same application as Taylor but the stuff I'm shooting IS supposed to be worldly dramatic. Directors ask for 24fps (23.98) but the post guys choke. Often I may shoot a commerical spot but then shoot some additional inserts that may go into graphic elements and bumpers. The commercial is front to back 23.98p with sharp editors. The graphic elements can end up who knows where and can cause the wheels to fall off.

Being able to deliver quicktimes with the pulldown applied allows them to just use the footage as if it came from a Sony F900R and had the pulldown applied when it was played back on the VTR.
 
Taylor, thanks for explaining your situation so we can understand.

Paul, by worldly I was meaning that's it's for use around the world - web, cinema, PAL and NTSC territories. Unless you are just broadcasting in a 60i environment, doing anything but add the pulldown at the end is really going to make life hard. As web and progressive delivery is increasingly the way we all view TV, whatever you do or is done really needs to suit that delivery option.

As Deanan says, it's something we can put in the suggestion box. I'm trying to see where the nub of the problem lies.

Graeme
 
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