I want to apologize if this question is too trivial, I swear I spent some time researching this subject here on Cow forums, but didn't manage to find the answer that would give me a god sleep... :o( I admit that maybe I was searching wrong though...
I was filming a concert with multiple EX1s and one Sony HVR-V1. All cameras were set to film 1080 24P. Looking at the acquired footage after importing to FCP I can see that clips from EX1 have correct frame rate of 23.987, but HVR-V1 is showing 29.97 (60i respectively). As I understand this issue so far and please correct me if I'm wrong, V1 adds advanced pulldown so that footage can be played on NTSC based equipment and by NTSC I mean refresh rate, not resolution. My question is how am I suppose to get 23.987 out of this media clip? How am I suppose to remove pulldown i.e. additional frames? When I try to do it in AE, I conform the footage from 29.97 to 23.987 and use "Guess Pulldown", but the actual frame rate gets to 19 something FPS... When I try to do it inside FCP using "Remove Advanced Pulldown" from the "Tools" menu, I get message that "File doesn't contain DVCPRO, DVCPRO-HD or DVPPRO-50 NTSC video"? Is it necessary to use a tool like Red Giant Frames to make an appropriate conversion? What's the whole point of adding the pulldown and calling it 24P when it is not and when the process of the frame rate conversion is not that trivial? What am I missing?
[Brani Sulek]"What's the whole point of adding the pulldown and calling it 24P "
The point is that consumers /pro-sumers get to shoot "24" fps "just like the pros", even though HDV is a Long-GOP format and is only capable of committing to tape at a nominal frame rate of 29.97.
FRC (frame rate conversion) is even worse from HDV, and is why you're getting a weird framerate from the "guess" setting. HDV also does not flag the AP like DVCProHD does, so that's why the Panasonic removal tool doesn't work, either.
Frankly, its a kind of manual task at this point, since you will have to determine what the 2:3 field phase is for every source clip. I use SHAKE when tasked with this thankless assignment, as it allows you to step through fields to identify the redundant ones, and re-establish true progressive frames.