From: edwin m (email suppressed)
Date: Sat Jul 10 2010 - 13:22:37 PDT
you can sort it out, but it might be a slight headache. if you
de-interlace the footage, you'll have 25p instead of 50i. the original progressive frames (that the scanner made) will
have been separated into fields & paired into new interlaced
frames (which the lab handed to you as video footage), & you'll just be separating those frames & using them to
put the old ones back together. once you have 25p, you can just create a 24p project in your editing software, import the footage & re-interpret it to run at 24p. you can then output the final stuff as 24p, & get a lab to write that to film. it might create more headaches though when you come to slow down or speed up already heavily re-interpreted footage to recreate 18p etc.
if it was me (& i hate standing up to labs!) i'd get them to re-do it though, & avoid the above
> Date: Sat, 10 Jul 2010 21:47:40 +0200
> To: email suppressed
> From: email suppressed
> Subject: [Frameworks] complex HD telecine question
> Dear FrameWorkers,
> can anyone shed some light on this predicament?
> I am working on a documentary which was shot on film and which
> hopefully will be finished on film but our intermediate will be in
> HD. This is because the source material is in 8mm, Super-8, 16mm and
> Super-16, at 18, 24 and 25 frames per second, but we are finishing
> everything on 35mm 24fps.
> We did a telecine last week of five hours of footage running off the
> Spirit Datacine at 24fps. The goal here was to have every frame of
> film (no matter what speed at which it was shot) to be resolved to
> one frame of HD, and from there we can work on the cadence, as one
> would on an optical printer, for example doubling every third frame
> if it was shot at 18fps. I was convinced we were recording at 24PFS.
> But I just learned the lab made a mistake and recorded everything at
> 50i. That is: 25fps interlaced.
> I assume that means that the Spirit created an extra half-frame every
> 12 frames, and that even if we deinterlace, we will still not be able
> to conform our HD timeline frame-for-frame with our film footage.
> Is the best solution to redo the whole telecine transfer? Or does
> someone know if two decks can be cabled together and a dub made which
> will recalculate at 24PFS with no extra half-frames, and no loss or
> digital manipulation?
> Thanks in advance,
> PS: stick to film, it's cheaper and easier.
> FrameWorks mailing list
> email suppressed
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