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29.97 to 23.98 sync

331 Views 0 Replies Latest reply: Mar 27, 2013 9:59 AM by willscarlett RSS
willscarlett Level 1 Level 1 (0 points)
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Mar 27, 2013 9:59 AM

I'm looking into having some of my old 16mm and 35mm student films retransferred in HD, since the technology is available and improved, but also because film deteriorates over time and it'd be less costly to have everything remastered in HD vs. having the negatives restored.

 

These projects were shot from 2002-2004 and as such, the film cameras were run at 24 fps and then a pulldown was used to properly transfer everything to mini dv at 29.97 fps.

 

I've been in touch with one lab in NYC - Colorlab, who say that the film would be digitzed at 23.98 fps, which leads me to a few questions. Most of these projects don't have sync sound, but two of them do. One had the audio recorded on a DAT at 29.97 (since the pulldown was used to create a Beta and dv master at 29.97) and the other also had the audio recorded at 29.97 on a Sony PD-150, once again because a pulldown was used to convert 24 fps of film to 29.97 and master it to Beta and dv, which was edited in FCP.

 

What I'm wondering is, do I need to have my audio re-transferred to match what will be the new 23.98 fps of the remastered HD film? Or, can I merely take the 29.97 audio, drop it into a 23.98 fps timeline in Final Cut and have it match? The contact I've been speaking with at Colorlab told me he spoke with one of their audio guys and the word is that I can drop 29.97 audio into a 23.98 timeline, have it properly sync and not need to convert or re-record the existing audio at 23.98. They said that they can transfer the film at 29.97, but running it at the faster frame rate will lead to film that's a bit sped up - something I definitely don't want.

 

Another question that I've asked the lab guys but they haven't answered is this. The films were shot full frame, but a few were shot with a 1.85:1 guide in the camera and the matte was applied in Final Cut. Would it be best to transfer the full image of each frame, apply the matte in FCP and use Compressor to create the 16:9 image? Or, would it be best to extract the 16:9 image during the film transfer and then just matte to 1.85:1 in FCP, therey bypassing the need to use Compressor for that step?

 

Lastly, and this may be a longshot - but does anyone know any other labs that do transfer film to HD?

iMac, Mac OS X (10.7.4), 3.4 GHz Intel Core i7, 16GB RAM

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