05-21-2003, 06:03 AM
You're correct. Why do you need it at 24fps? If you're just doing effects work, then you'd only need to take the pulldown out of certain shots, right? Anyway, if it was cut at 29.97, then yes, there are probably breaks in the 3:2 cadence. Lucky you - you get to chop the 29.97 master up and remove the pulldown from each shot before you do your work.
In the future, make sure the effects are done before the online happens, as that's when they'll need to go in. When you're having the one-light transfer done for the offline, get a best light transfer of the stuff you'll be doing effects on. That way you can start working right away, while the offline edit happens.
If your 3:2 cadences are mixed, the only way to properly deal with dissolves would be if you'd done the conform yourself and had handles on the clips. Then, you could film compress each shot separately (if your intended goal is a 24p master), or film compress each shot, do whatever you need to do, and then film expand back to 29.97 if you're trying to stay in NTSC land. If you can't get handles, I think you're up the creek without a paddle. Sorry.
So....if you only need to work on a few shots, hand-remove the pulldown, and blame the editor for any wonkiness in the dissolves.
05-24-2003, 01:48 PM
Dude, you have to ask the online editor to give you the shots you need for your effects work. I wonder why it was onlined when the effects work aren't there yet.
My suggestion is to go a few steps back in the whole process. This might be a more time-saving/faster approach than figuring out how to untangle those 3:2 puldowns. The good thing is that you have an edit as reference for the timecodes for your needed shots and all you need to do is to talk to the online editor and ask him to kindly dub you a copy (of your shots) from the online materials.
01-15-2006, 05:03 AM
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