Hello everyone,
I already posted a similar question on the Avid.com forum, but I thought I'd try my luck here.
I'm about to edit a production that will be shot here in the States with an NTSC HVX200 (at 24pN DVCproHD100).
Ultimately we'll be broadcasting the footage in Europe, so the final output will be PAL DigiBETA (25i).
We'll be using Media Composer soft 2.6
Therefore, I have two questions concerning the workflow:
1. At which point in the editing chain should we transcode the 24p footage into 25i? We want to speed it up, not duplicate frames. Is it better to do that during acquisition from the P2 cards, during editing (speed up the timeline) or at the export stage?
2. In order to export to a PAL Digibeta, do we need to have a Mojo SDI hooked up to a Digibeta deck, or could we just buy a Quadro FX4500 SDI and use that? Which one do you recommend, knowing that as far as the Mojo is concerned, we will never use it for input only for output.
Thanks in advance for any help.
TDX
I already posted a similar question on the Avid.com forum, but I thought I'd try my luck here.
I'm about to edit a production that will be shot here in the States with an NTSC HVX200 (at 24pN DVCproHD100).
Ultimately we'll be broadcasting the footage in Europe, so the final output will be PAL DigiBETA (25i).
We'll be using Media Composer soft 2.6
Therefore, I have two questions concerning the workflow:
1. At which point in the editing chain should we transcode the 24p footage into 25i? We want to speed it up, not duplicate frames. Is it better to do that during acquisition from the P2 cards, during editing (speed up the timeline) or at the export stage?
2. In order to export to a PAL Digibeta, do we need to have a Mojo SDI hooked up to a Digibeta deck, or could we just buy a Quadro FX4500 SDI and use that? Which one do you recommend, knowing that as far as the Mojo is concerned, we will never use it for input only for output.
Thanks in advance for any help.
TDX