Re: editing 24p, 24p adv, and 60i footage

[clairemp] "First, I have shot almost all the footage for my documentary (using a panasonic dvx-100 or 100a) using the standard 24p mode. Before the very first shoot for the film, I was perhaps erroneously advised to "definitely" shoot in 24p-adv. mode, leaving me with 4 hours of footage that I now need to bring in to my 29.97 timeline, "

you do understand that who ever told you to shoot 24pA was correct. - no mushy C frame in the A content

Why, if you shot the footage at 24p why are you not editing in 24p? Chances are at least 1/4 of your edits will be on redundant frames and that will require to hand cut each and everyone of the seqs if your need a 24p final master.

As Capt Mench said - you can always recapture the 24pA footage as 29.97 or you could CT all of the captured footage to match.


[clairemp] "I am also going to use some footage shot on a non-24p DV camera, importing it at 29.97 as well, and while it will clearly not look like the 24p footage, I'm using it as "archival" material so hopefully I will be able to use all of these three kinds of footage on the same 29.97 timeline. Hit me over the head if I'm wrong."

OK
the majority of your content is 23.98 but you are working at 29.97 just for a small number of broll shots?
Yes someone should wap you in the head = the 24p material would take up 20% less storage to start.

Nattress effects make a grate Standards conversion plug in for FCP ($99) that does a very goods job of 29.97 to 24p that way All the shot footage will match is you work at 24. if you are planning on a broadcast master done in at 29.97 it might be rejected by standards as you will have 2 different types of cadence for the redundant frames from the 24fps content - which can be flagged as drop outs

if it is different than what was expected ( ie: 24p has a cadence of 3:2 vs 2:3:3:2 for the 24pA) standards may bounce it.



gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows