I was curious about an issue I'm encountering over here and I was hoping to draw on the impressive expertise that tends to circle around these parts!
Here's the situation; I'm working on a mostly volunteer locally-based documentary that has been shot over the course of over two years, and we're just now getting down to edit it in earnest; I am the editor. Lots of good quality here, but some of the video footage that has come in is at 24p (23.976) whereas most of the material is at 30p (29.97).
I think I understand that doing a pulldown to 30p from 24p will cause duplicate frames (makes sense), but that pulling down to a delivery like 29.97i (for DVD for example) will help because the duplicate frames can be stretched across the fields.
I also know that Premiere is (rather successfully) putting issues like this more in the background so as to not create headaches and hurdles for many users who are using source material from a variety of cameras and so on.
Delivery will likely be to the web (30p I would imagine), one or more projection formats, and probably also to good old fashioned DVD.
I was planning to cut this in 30p sequences because 90% of the footage is in this format.
So my questions are; is there a 'best' workflow to do this that would preserve the best possible quality across these multiple delivery formats? Will Premiere assist me by rendering from original source footage into delivery formats, regardless of sequence settings? Even with nested multiclip sequences, and so on? Are any special settings required?
And one for the bonus points; IF the original footage *IS* pulled down in the project's sequences, thus making less than ideal results, is the best/most optimized thing to do to make 'intermediate' clips or sequences individually for each delivery workflow?
Thanks for help on this specific issue and also a HUGE thank you for all the great information that has always been found here.
Viva La Vaca!
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Adobe Premiere Pro CC // Master Collection
adobe supports regular reverse 3:2 pulldown and advanced pulldown 2:3:3:2 which was the old dvx-100 method.
both take 29.97fps interlaced and turn them into 23.976fps progressive.
if you drop a 23.976 into a 29.97, it should add the pulldown automatically.
if it doesn't, you'll have to render out a 23.976 to 29.97 with 3:2 pulldown and import back into the timeline.
it changes the clip speed to match the sequence unless you use
time interpolation - frame mix or optical conversion