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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.

If they weren't Avid MXFs I'd suggest batch converting with pulldown via Compressor or Squeeze.
 
Paul J Steinberg said:
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.
Click to expand...

Avid does this quite well, and probably better than other NLE's when it comes to real time performance and quality of the mix and match. Perhaps "willingness" is the key word in this statement. Create a 23.976 project. Import AAF's from the REDCINE transcode. GO back to to your 59.94 project and open that bin. Edit away. All frame rate conversions are done as part of the editorial process in real time.

Graeme's point is a valid one for broadcast deliverables from 23.976 where the cadence should be continuous for entire program - in this situation, it's about integrating non 59.94 frame rates into sources that are 59.94. If converting in REDCINE X, one needs to ensure that proper metadata is handled in between a 23.976p-29.97i world as far as timecode and such should anyone ever need to go back to those original sources for archive purposes and pull the proper frames.

Michael
 
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