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24p and 24p advanced on same tape

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Trevor Styles
24p and 24p advanced on same tape
on Mar 21, 2010 at 7:36:34 pm

I am in need of serious help!!! I have just discovered that the camera person on our low budget zombie flick (52 tapes shot on the Panasonic AGDVX100a) has shot both modes (24p and 24 p advanced) on many of the SAME tapes!!! What do I do about this cadence problem? It seems that she switched modes many times on the same tapes. Why...I am unsure. Can someone please help me? I would like to edit this as a 23.976 timeline-widescreen project.


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Jonathan Ziegler
Re: 24p and 24p advanced on same tape
on Mar 21, 2010 at 11:24:25 pm

Okay, I'm not real experienced with re-fitting 24P Advanced to 24P, but I always understood it was better to shoot 24P for straight video (it uses a 2:3 pulldown) versus 24P advanced (which is 2:3:3:2 so you can recapture all 24 frames in post which is great if you plan to make a film print). I think you need to convert the 24P Advanced footage to straight 24fps (not 24P or 30P), THEN reconvert that footage to 24P so it will all match the 24P footage.

The nice thing is you shouldn't lose any quality in the process, just the frame rates will be corrected.

What are you using for your NLE? Final Cut, Vegas, Premiere?

Jonathan Ziegler
http://www.electrictiger.com/
520-360-8293


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Trevor Styles
Re: 24p and 24p advanced on same tape
on Mar 21, 2010 at 11:34:45 pm

Thanks Jonathan! How do I convert my 24p advanced to straight 24p? I am using Premiere CS4 for my NLE--thanks again!!


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Noah Kadner
Re: 24p and 24p advanced on same tape
on Mar 22, 2010 at 12:26:01 am

Actually 24pA is always the best format to use if you're planning to derive a 23.98 timeline. 24p standard is only intended for timelines edited at 29.97- say to mix with 60i footage.

In this case you should capture everything as 29.97 DV- on a clip by clip basis- this is critical. Then run tools- Remove Advanced Pulldown from 24pA sources on all clips. The 24pA ones will convert to 24p. The others will not and you'll have to do these manually with Cinematools. I show how to fix this and a lot of other DVX100 issues on my DVX100 course by the way:

http://www.callboxlive.com/products/24p-digital-post-production-with-final-...

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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Trevor Styles
Re: 24p and 24p advanced on same tape
on Mar 22, 2010 at 12:40:25 am

dude, Noah--you're the man--thanks a ton! I can't believe the problematic footage I am left with...but, the show must go on! Thanks for all the help! On a related topic, I have a question regarding final output:

Once I have all of my workflow figured out, I would like to be left with 3 files. 1) an UNCOMPRESSED AVI at 23.976 FPS 2) a 24p MPG2 file (for output to a DVD and 3) a regular compressed file to play back on a PC

I am only confused on option 3. I will be working on a 24p timeline, and all 24p files after conversion, so my footage will all be 24p....so if I want to compress a file for the PC...how do I do this? I hear that once your file is 24 frames, it is very difficult to add frames back in to make it 29.97...and I hear that there isn't a decent codec to output 23.976, since 29.97 is NTSC standard and all compressors work in 29.97 format...is this true? I would have thought Quicktime, or another compressor would have been able to handle a 24p file?


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Noah Kadner
Re: 24p and 24p advanced on same tape
on Mar 22, 2010 at 1:30:57 pm

Why would you need to make a 29.97 version? Any computer Mac or PC can play back a 24p file. And a DVD can be encoded at 24p. The only time you would ever need 29.97 would be on a tape format like DV or BetaSP or Digibeta. In that case you'd take your 24p file to a post house and they will play it out to tape with an AJA or Blackmagic card- and at that moment FCP will automatically add in the pulldown during playout. In short 24p is a perfect format because you do anything with it.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Sony EX1 Guidebook, Panasonic HVX200, Canon EOS 5D Mark II and Canon 7D.
Watch Formosa- My indie movie shot with the SDX900 and finished with Final Cut Studio.


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