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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 :)

29.97 or 23.98?

M

munchausen

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Hey all,

So if we want to finish in HD-CAM, should we be transcoding from the Red footage to DV-NTSC 23.98? Or 29.97?

Thanks in advance!

-T
 
Shot 23.98, offline editing w/ an old computer in DV-NTSC

Shot 23.98, offline editing w/ an old computer in DV-NTSC

Does that make sense? We are doing this ultra low-budget, so the offline editing computer is actually not suitable for editing even HD. The question is, given that we SHOT in 23.98, should we be sticking with that framerate for our "offline"?
 
This is a bit like having a Ferrari, but only used french-fry oil to run it.

Seriously, get a proper PC, they really aren't that much these days.

munchhausen_xl_01--film-B.jpg
Or is it April already?
 
T,

You can edit in DV @ 23.98 and then do the final conform at another facility. There's nothing wrong with editing in DV. Just make sure all timecode references stay the same throughout the process and you have the ability to generate EDL or XML at the end. You should be fine.
 
By the way, what are machine and software will you be editing on?
 
I'm with Steve -- What kind of machine/software do you have? I edited a 24p DVCProHD project (shot on Varicam) off of firewire with a 2003 Mac G5. Worked like a charm. If you're using an older computer than that, seriously, consider upgrading. And if you're not, you can probably edit with DVCProHD, which will at least be HD.

But hey, if you have to edit offline using DV, that's what you gotta do. Content is king.
 
Martin Weiss said:
Ok, I was thinkng too much inside the box.

Keep in mind though that you won't be able to judge critical focus.
Click to expand...

That's a valid point, although if they are checking their shots and making notations prior to transcoding, i.e. on an intel or PC that can run the Red apps or quicktime component, then this will be less of an issue.

Still a valid workflow when all is said and done. As long as there are no errors made in the transcoding of the footage.
 
I can't speak from experience when it comes to a project originated on Red, but the last film project I did was mastered on HDCAM 23.98. I worked out a great deal with the post house where we did the transfer, getting them to take the HDCAM masters and digitizing them into FCP using a Kona card, choosing DVCPRO HD 720p 23.98 for our offline, so that we could keep the native timecode from the masters, eventually spitting out an EDL and doing the online using Avid Nitris. Minus a few transitions that didn't translate, it worked like a charm. Moreover, I walked away from the transfer with my master tapes and a hard drive full of footage, ready to log and edit.

On the contrary, a friend of mine had a project shot on an F900, and he transcoded (not sure that's the correct term) to DVCPRO 50 @ 29.97, pulling in the original timecode but losing the 1:1 frame information. His online was messy, and as a result, he lost some hair and sanity.

If you can edit offline in HD, all the better, but from my experience (and my friend's), I'd say that timecode and framerate will be the lynchpins in your success or demise.

See if you can't strike a deal with whoever has the deck...if you're giving them a decent bit of work/coin, they may be inclined to give you the freebie at little to no charge. Best of luck.
 
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