Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Finishing on Digital Video, the Online Edit<br />
are shot at 24P but edited at 29.97 have a different 0-A frame reference for every shot and therefore<br />
cannot be reversed.<br />
It is also possible to capture the project in ProRes 422 in the fi rst place, making the up-rez unnecessary.<br />
It this case, the scaling is done in hardware. The SD video is converted in the I/O device, for<br />
example, the AJA ioHD. The advantage of this is not just that the full HD image is being edited, but<br />
also composted in Motion and graded in Color.<br />
Some projects are converted in software. The simplest system involves taking the 23.98 SD sequence<br />
and dragging it into an empty 23.98 HD sequence in Final Cut Pro and rendering it to HD. Start by<br />
exporting your SD edit as a QuickTime. Import the QuickTime movie back into the project. If the<br />
SD video is 16 × 9, check its animorphic checkbox in the browser window. 16 × 9 video will up-rez<br />
full screen, 4 × 3 will be pillared.<br />
In audio-video settings, set the sequence settings to your HD format. Final Cut Pro HD includes settings<br />
for 1080i, and 720p in several frame rates. Do not change the frame rate in this step; match the<br />
HD frame rate to the SD frame rate. Create a new sequence at the new settings.<br />
Drag the SD QuickTime movie into the new sequence. The SD video will come in small in the HD<br />
sequence. Resize the image using the scale function in the motion tab of the viewer. Set the scale to<br />
225 for 1080i.<br />
You are now ready to render. Do several test renders to look for problems. The fi nal render will be<br />
slow; the test renders will give you an idea of how much time you will need.<br />
While this system works, transcoding any video this way produces some unwanted artifacts. While<br />
other rendering systems are also available at postproduction houses, most projects are transcoded<br />
from one format or resolution to another by recording tape-to-tape. This is the best way to convert<br />
23.98 to 24 FPS as well. There are many syncing and stabilizing systems that can interlock two video<br />
decks and make the tape-to-tape dub. There are even systems that can record 29.97 to 23.98, but<br />
only if the entire 29.97 video has the same 0-A frame reference.<br />
While the roll of the online edit is changing, there is still often a need to perform an online edit. This<br />
roll will continue to evolve, and the line between off-line and online will become even more blurred.<br />
Yet there will always be a need to have professionals oversee the fi nal editing, ensuring quality controls<br />
and the best possible project.<br />
91
Change language