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Hi guys,
I know it’s a kind of newbie question. But believe or not I have never done this before and I have little doubt about the steps of the process.
The source sequence is 720×[email protected] (progressive) with audio. I would like to export an NTSC mov.
1.) I guess I have to timewarp the sequence with 120% first.
2.) Change the frame rate to 30 fps.
3.) The next step should be the resize.I am not sure about the resize settings, it seemed too simple to be true.:)
Do I only have to set the destination to 720×486 NTSC and press process?
What about the aspect ratio? Is it 1.333?
Do you crop the picture to fit into the destination?What about the color space conversion? As far as I know NTSC and PAL have different color space.
Could you share your PAL2NTSC conversion workflow please?Thanks,
pH.
If your footage is 16:9FHA then you need letterbox it in action, i’m not infront of the box right now so i’m not to sure. But once you’ve done this you’ll want to
1: timewarp your footage to double the length of the spot if it were running at NTSC. So if it’s a 30 second spot, timewarp it to 1800 frames
2: Then interlace it, you will be left with a 900 frame clip
3: Then using resize. Resize it 720 x 486, play around with the crops whatever looks best, a letterbox should work well.You could also try to TW your footage to 24fps and then cine-expand that…just an idea.
@Unkle 26193 wrote:
If your footage is 16:9FHA then you need letterbox it in action, i’m not infront of the box right now so i’m not to sure. But once you’ve done this you’ll want to
1: timewarp your footage to double the length of the spot if it were running at NTSC. So if it’s a 30 second spot, timewarp it to 1800 frames
2: Then interlace it, you will be left with a 900 frame clip
3: Then using resize. Resize it 720 x 486, play around with the crops whatever looks best, a letterbox should work well.I would first resize, then TW the sequence This will provide better scaling and interlacing…
Another idea, if you can make spot 4% longer in time, then just create a 24fps sequence, then add pulldown, and TW audio. If you don’t want to have TW artifacts. Ofcourse this can be lots of trouble to the client, since it will change the length of spot.
If it’s a 30 seconds spot you can resize it, then add pulldown and cut a frame here and there to keep it on time.
Well, if it’s possible, I would avoid pulldown…:) I know that it sounds silly.
But sometimes I have to roto/key pulldowned sequences and it’s a nightmare.
So I would use pulldown only if I know that noone else will have to work with the sequence.Anyway I am not really confident with the color management issues.
What color does Flame work in? I know that Nuke works in sRGB, but Flame?
When I export something where does the color space conversion take place?
I guess when I export a tga sequence it remains in the same color space I worked in.
In this case should Pronto (http://www.dvs.de/products/video-systems/pronto-family/pronto-family/key-features.html) do the conversion?Or am I a color space freak?:)
Just a note about the 3:2 issue. Almost if not all material in NTSC is either interlaced or has 3:2 in it. Since you’d be adding 3:2 to the entire piece at once, then if someone had to work on top of it there will be consistent jitter frames making it dead simple to remove and bring the piece back to 24fps to work on top of. After their done, just re-add the 3:2.
I would avoid 3:2 more because it looks awful than because it’s hard to work with 🙂 Seriously, pans and wipes can look pretty nasty with pulldown rather than a proper timewarp.
pH, you ARE a colour space freak 🙂 PAL and NTSC use the same YCbCr space right through post, they only change into YIQ or YUV for analogue transmission. The only difference is I think some colours are not legal for broadcast in NTSC which are okay in PAL… check on a vectorscope or a legalizer to be sure I guess.
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