Outputing P2 720/24PN to DVCProHD tape?
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Shane Ross
Veteran
You mean as master tapes (field tapes)? Or delivering the show master?
I have a feeling you are talking about all your source footage that you used in the show, as networks require those as part of the deliverables.
You need to tell them that you need to give them the original files on hard drives. 24PN is not a format that can go to tape, as it is 24 real frames per second with no pulldown. I have to deliver all of our P2 footage to the History Channel, and convinced them that the original files are what they really want.
I have a feeling you are talking about all your source footage that you used in the show, as networks require those as part of the deliverables.
You need to tell them that you need to give them the original files on hard drives. 24PN is not a format that can go to tape, as it is 24 real frames per second with no pulldown. I have to deliver all of our P2 footage to the History Channel, and convinced them that the original files are what they really want.
Thanks, Shane-
Yes, source footage is what they want on tape.
I gather from my talks with Discovery that they haven't dealt with any P2 yet. Of course they will, but they aren't ready to make the leap-of-faith.
So I can't put 24PN in a timeline and convert to 24P over 60 with a NLE? I figured the timeline could add the extra frames for output?
Do you know how the 24PN would mix with 23.98 shot on the Sony F900 in the Avid? The rest of the show was shot on one of Discovery's CineAltas. They are fine with bumping up to 1080p but I don't know how 24PN and 23.98 will interact?
thanks,
tom
Yes, source footage is what they want on tape.
I gather from my talks with Discovery that they haven't dealt with any P2 yet. Of course they will, but they aren't ready to make the leap-of-faith.
So I can't put 24PN in a timeline and convert to 24P over 60 with a NLE? I figured the timeline could add the extra frames for output?
Do you know how the 24PN would mix with 23.98 shot on the Sony F900 in the Avid? The rest of the show was shot on one of Discovery's CineAltas. They are fine with bumping up to 1080p but I don't know how 24PN and 23.98 will interact?
thanks,
tom
VaricamLife
Well-known member
They just want it for archival stock footage?
They just want it for archival stock footage?
If Discovery simply wants the media on tape so they can stick it in some freezer and add to their stock footage library, you can do that with an AJ-HD1200A or equivalent (I just mention that particular model cause its what's sitting to my left right now).
With the footage still on the cards, firewire the Camera to the deck. Set the deck for 1394, hit play on the camera and then hit play on the deck and voila, transfer over, and with the same timecode to boot. For footage that's off the camera, as long as you have a backup of the RAW folder/last clip.txt, you should be able to copy that back onto empty cards (just mount the cards to the desktop while empty) and then go about the aforementioned transfer to tape.
If you're shooting 24pN though, I believe what ends up on the tape is 24p, ala the Varicam. Shane is certainly right that it is not 24pN as you can only have that in the tapeless environment. I am afraid I haven't quite had the time to examine that aspect of things as of yet. I'm simply been doing the transfer to tape for backup purposes (I'm not going to argue the point, but I simply don't trust tapeless currently, but the Varicam is too big for one particular shot we need). The footage is on the DVCPro tapes though, and when I've looked at it quickly its looked just fine to me.
However, having said all of that, if that route isn't your cup of tea, and you want to ensure the 24pN, you'll want to sell Discovery on doing a DVD-R or Blu-Ray-R archival of the materials. As long as you allow the discs to verify with your burning software, you should have enough security that they backuped up safely. Additionally, as both tape and both DVD mediums will degrade over time, even in cold storage, they are basically equivalent in that sense. DVD mediums though possibly being easier to re-copy every 15 years say to ensure the integrity of the footage.
Anyway, hope that helps.
cheers.
They just want it for archival stock footage?
If Discovery simply wants the media on tape so they can stick it in some freezer and add to their stock footage library, you can do that with an AJ-HD1200A or equivalent (I just mention that particular model cause its what's sitting to my left right now).
With the footage still on the cards, firewire the Camera to the deck. Set the deck for 1394, hit play on the camera and then hit play on the deck and voila, transfer over, and with the same timecode to boot. For footage that's off the camera, as long as you have a backup of the RAW folder/last clip.txt, you should be able to copy that back onto empty cards (just mount the cards to the desktop while empty) and then go about the aforementioned transfer to tape.
If you're shooting 24pN though, I believe what ends up on the tape is 24p, ala the Varicam. Shane is certainly right that it is not 24pN as you can only have that in the tapeless environment. I am afraid I haven't quite had the time to examine that aspect of things as of yet. I'm simply been doing the transfer to tape for backup purposes (I'm not going to argue the point, but I simply don't trust tapeless currently, but the Varicam is too big for one particular shot we need). The footage is on the DVCPro tapes though, and when I've looked at it quickly its looked just fine to me.
However, having said all of that, if that route isn't your cup of tea, and you want to ensure the 24pN, you'll want to sell Discovery on doing a DVD-R or Blu-Ray-R archival of the materials. As long as you allow the discs to verify with your burning software, you should have enough security that they backuped up safely. Additionally, as both tape and both DVD mediums will degrade over time, even in cold storage, they are basically equivalent in that sense. DVD mediums though possibly being easier to re-copy every 15 years say to ensure the integrity of the footage.
Anyway, hope that helps.
cheers.
Barry_Green
Moderator
Yes you can; it'll output as 24p embedded in 60i with 2:3 pulldown (just like film transferred to video).
Schmovies production
Well-known member
With prospect hd you can output the cineform avi obtained to any tape format.
What can be wrong with that?
I have to consign slomo footage in 1080 25p hdcam and i'm seriously thinking to try this solution
What can be wrong with that?
I have to consign slomo footage in 1080 25p hdcam and i'm seriously thinking to try this solution
VaricamLife
Well-known member
dogmeat,
Remember that 24pN means that there are no pulldown frames. Its one of the beauties of that setting. But its is unique to the P2 and only exists on them. If you go to any tape you will then be recording 24p and will have pulldown frames in there. It will still be 24p, and you can still extract the pulldown frames later on, but on the tape they will be there. So your timecode will be slightly different on the tape. I've just skipped out on a mixer early here so am not entirely in the clearest frame of mind to expand upon that, if someone else wants to pick up on it...
cheers.
Remember that 24pN means that there are no pulldown frames. Its one of the beauties of that setting. But its is unique to the P2 and only exists on them. If you go to any tape you will then be recording 24p and will have pulldown frames in there. It will still be 24p, and you can still extract the pulldown frames later on, but on the tape they will be there. So your timecode will be slightly different on the tape. I've just skipped out on a mixer early here so am not entirely in the clearest frame of mind to expand upon that, if someone else wants to pick up on it...
cheers.