Using Avid Meridien Based Systems.

30fps to 24fps

Beginning with Avid MC v11 you can edit at 30fps, make a 24fps EDL and import that EDL into a 24p project, retaining links to the metadata.

Going from 24p to 30i.

(In this example I'll assume you don't have the original ALE files. If you had the files you would skip the first four steps.)

Using Avid ABVB Based Systems.

Moving from 24 to 30 FPS

Moving a 24 fps project to 30 fps

For Hi-Res Digital Cut...

A tape like this is often needed for promotional, or marketing efforts prior to completion of the film itself. The following process should provide a method to accomplish this; however, as with any matchback, or in this case "matchforward" process some unexpected events may result (i.e., if in the film project one had used the last frame before a hot frame, a field or frame from that flash frame may end up in the 30fps version. If you allow the redigitized clips at least two frame handles, such occurrences could be easily repaired).

To cut a show at 24 fps and move it to a 30 fps project for digitizing at higher, 2 field resolutions...

1. Create an EDL from your 24 fps sequence in EDL Manager. (use EDL Mgr. 1.7.3 or higher)

2. Save that EDL as OMF.

3. Import that OMF composition into a 30 fps Avid project. This will create a sequence with individual master clips*. Be sure to select your desired AVR on importing.

4. *DELETE the master clips.

5. Decompose the sequence and batch digitize the newly created master clips. Some clips may add a "B" to your source reel name because the EDL created B-rolls; just use the original source tape.

6. If you are assembling sound from timecoded/machine controlled sources, your tracks will be redigitized. In my tests it fell perfectly in sync, even one frame edits.

If you have a full mix, in an Avid Film Project for example, you can lay that off to tape via a Digital Cut. You can then redigitize your mixed track in the 30fps project and cut it into the sequence. -- Digital cuts to video often result in a half-frame slip in the placement of the sound on the video tape; therefore, when you redigitize your sound track as one clip from the video, it could be a half frame out at the sync pops (head and tail recommended). If you can't live with the half-frame sync problem, you'll have to put the mixed track in ProTools, or some other system, that will allow subframe movement of the track. (I don't know if Digital Cuts to DAT are more accurate than video.) At any rate, I would consider redigitizing my video at AVR77 and then laying that off to BetaSP. The audio could go from Film Composer to ProTools and align the sync pop with the appropriate time code address and then insert the audio to the Beta tape.

For Continued Editing at 30 FPS...

If for any reason you have begun editing in a Film Project (at 24 fps) and you need to move to a 30 fps project to complete the editing process, the following should provide a method to accomplish this. Where this procedure differs from the one above is that you will end up with all your original clips digitized and linked to the sequence, rather than just the material directly used in the sequence.

To cut a show at 24 fps and move it to a 30 fps project for digitizing in a 30 fps project where you wish to continue editing...

1. Create an EDL from your 24 fps sequence in EDL Manager. (use EDL Mgr. 1.7.3 or higher)

2. Save that EDL as OMF.

3. Create a 30fps project (w/ Matchback if desired) and import all original telecine log files (converted to ALE) and redigitize the material. You should have the ALE files already from when you imported your clips into the Film Project.

4. Import OMF composition into your 30 fps Avid project, in its own bin. This will create a sequence with individual master clips. There will be a "24 hour" master clip created for each source tape.

5. Highlight the first master clip.

6. Choose Modify from the Clip menu.

7. Choose Set Source from the Modify sub menu.

8. The tape names from the original 24 fps project will be visible. Deselect "Only show this project's tapes." so you can see all tape names.

9. Select the tape name that corresponds to the original tape name, but has the new (30 fps) project name before it. On an ABVB system it will be in the format New Project Name:Tape Name (below, left). The image on the right shows what the window looks like on Avid Meridien systems.

Tape Name Dialog Box

You may see several projects associated with a tape name. If you don't select the correct one, the media will not link up. It's also possible you'll see more than one entry for a particular project/tape name combination. If this occurs, you'll have to try each choice in turn.

10. Repeat steps 5-9 for each master clip.

11. Highlight the sequence and choose Relink from the Clip menu. Do not select any of the options in the Relink dialog box. Click OK.

The sequence should now be linked to your existing media.

12. Delete the new master clips (the ones created from the EDL).

The new master (24 hr.) clips will never relink -- they're used as intermediaries. You have actually relinked the sequence to the original master clips. You can now use Match Frame and Find Bin to refer back to your original source material.

  • Highlight the sequence and choose Decompose from the Clip menu. In the Decompose window, select the "Decompose only those clips for which media is unavailable" option. This is a way of checking if any of the sequence didn't link. Master clips will be created for those parts of the sequence that didn't relink. You can batch digitize them. If no master clips are created then your entire sequence relinked properly. Obviously material that is not batch digitized from your ALE logs will not be present. You will have to redigitize, or otherwise create, and cut in elements like CD audio, graphics and material from non-timecoded sources.

    Related Article...

    You might want to look at the white paper Steve Bayes published on importing an EDL and linking it to existing media on the drive, from which some of the above material was derived. (30fps->30fps).
  • Back to Pulldown Explained.

    Link to Avid Technology, Inc. for more technical info regarding Avid products.
    Link to Filmmaker's Home Page/ Editing.
    Link to Alan Stewart's to main page.
    e-mail Alan Stewart.