Maybe I misunderstand things, but...why are you exporting three times? TIFFs (or any image format) don't have a 'frame rate". (And can't be interlaced anyway.) Just export out once form your sequence as TIFFs. The folks on the other end can assign whatever frame rate that want for playback in their software. (Of course, they'll have to adjust the speed of audio playback to keep sync, but this is how Hollywood get's their 24 fps original onto PAL set's anyway, by speeding it up by 4%.)
Why don't you make your life a lot easier and simpler, since you are using stills (.TIFF) by using a 1080/25i sequence without the Maximum Bit Depth? Or are you using 10 bit TIFF's and a third party card?
Harm: My original timeline is only moving images...R3s's, AVCHD and other material 90% 29.97 and a bit at 24fps....I should have preficed that i want my MASTER sequence as 29.97 since i have two markets that will get this...Europe and then USA. That said, if it is BETTER to make two Masters..great. But yes, i understand Tiff's are only images....and can then be put back any way....at least that is how i understand it....As for Maxium Bit Depth...Actually i have no idea what that is even used for---BUT, i do want highest quality possible for my master. So....why would i NOT use Max Bit Depth ? or Why turn off?
The whole Render to Tiff is new to me since i'm a throw over from FCP...and only rendered out prores for NGTV, Discovery etc....
Jim: Ah...3x export---well, i had problems with some flickering because i used the effect Shadow/Highlight---which (see attached) caused flickering--took me 2-3 days to figure this out and little did i know it is a known issue with Adobe....but now that i'm rendering now for a 4th time as i write this....what i did was this...
when exporting out...i chose Tiff....you are right--i did not need to choose a frame-rate etc...but i did choose 1080p & 29.97, then send to Queue--then AME comes up and the actual coding shows as Tiff custom....so those settings i chose i'm sure do nothing then since each frame is merely a picture file.
So....now what i have done is render out the Tiffs....to a folder. I go back to PrPro...set a new sequence as 1080p & 29.97....import Tiffs as a sequence and then render again...now there is my sequence....
Ok...so now that i have my Tiffs...i guess i can do anything i wish....But, how would i get to 1080i 50i ?
These are the Tech Specs I am to meet:
1x 60' HDCAM 1080i50 16:9 English/International version: fully texted with textless elements for opening titles, closing credits, subtitles and captions.
The tape must be seamless - without any commercial breaks.
Please refer to the attached technical document (page 11) for a detailed explanation of what we define as English and International versions.
2. Audio configurations
Channel 1: Full Mix Stereo Left
Channel 2: Full Mix Stereo Right
Channel 3: Mix minus Narration Left (undipped)
Channel 4: Mix minus Narration Right (undipped)
All audio channels must peak no higher than -10dBs (measured on the EBU digital scale) or 6 PPM (when measured on the UK PPM meter).
3. Please make sure all the titles are within 4:3 (preferable) or 14:9 (acceptable) title safe area.
For now i'm creating my Digital Master...once in hand I will take to a place to make my transfer to tape. Sorry to create confusion...my bottom line is getting them a 1080i 50 sequence. What i plan to do is this: Make my master:
from there I want to make these:
1. domestic market: 1080p 29.97 digital master
2. foreign market: 1080i 50 digiatal master
3. then various h264's i'll put to my FTP for download as screeners
4...Both domestic and foreign markets all eventually me to deliver on HDCAM tape for their broacasters, but this is done by a transfer house when i supply them with the proper output file. I can output everything except 1080i 50....at least i don't see that option anywhere.
If it were me, the first thing I'd do is ask the transfer house what format they prefer you to deliver to them. Then just create that one output.
Let them do the PAL conversion. They're likely to have tools that do a better job than you can with the Adobe suite. (And if they don't it may be time to look for another transfer facility.)
This i can do....however what i'd really like to know is there an encode setting to encode out to 1080i 50? or best method to get there? I realize i can call a transfer house in La....I'm in La Paz, Mexico....far cry from any transfer house, and trying to do as muhc as i can here before i send a digital file out.
Thanks for your input though.
Maybe this is a moronic question, but if my deliverable is 1080i 50, and i deliver 1080i 25.....i don't think i've achieved what is asked of me.
Can you be more specific of what results i'll get? or will the results not be viewable becuse of my N.american system? and not Pal system? --- my monitors that is...
Got it....so what you meant by me not liking the outcome was for that reason NTSC my side and not seeing it how a PAL system would show me....?
After talking to a post house,they were going to transfer my Tiffs to Prores then convert to 1080i 50....
***THAT is NOT what i want to do...i've had way too many gamma shift issues with going to prores...destroying all the color work and time i put into the color work....basically NOT "what you see is what you get"....That's the whole reason i went to TIFF....
what you meant by me not liking the outcome was for that reason NTSC my side and not seeing it how a PAL system would show me....?
No, what I meant is that Adobe tools may not do the best job of converting from 30p to 25i. That's why I suggested you leave that to the transfer facility. They often have much better tools for that purpose.