1080i/50i conversion to 24p

Hi there,
I have read many articles and forums all over the internet, but have not found a definitive workflow for accomplishing getting my footage into a usable form.
First, I shot and captured from a Sony HVR-Z1U to FCP using the HDV 1080/50i capture codec.
I purchased the Nattress plugins for deinterlacing. What should I do next? If I render out deinterlaced footage, the info on the render files still says it's 1080/50i. How do I make it 25p?
My final output will be DVD but would like to keep my options open.
Any help would be greatly appreciated.
Thanks!
MacBook Pro 2.16 ghz Mac OS X (10.4.8)

I got the film effects package. Is there a way to convert the actual footage files to 25p with film effects? If I get the Standards Conversion kit, what setting do I use, and where does it store the convertede footage? In render directory or capture scratch?
Thanks for the reply!

Similar Messages

60i to 50i conversion, but not keeping original length?

I'm sitting here with the raw footage for a music promo. Half is shot 50i, half is 60i. I need to end up in PAL, so I'm trying to figure out how to convert the 60i stuff to 50i. As all the 60i material has to be slowed down anyway, so I don't want to do a regular pulldown and start interpolating and losing frames and stuff. Just save/convert the QT to 50i, or PAL.
I guess what I mean is, keep the total amount of frames, but change the framerate.
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Is there any way in FCP Pro HD or Compressor?
How about After Effects?
Any reply is a help
Regards,
Soren B, Buro Bonke
G5 Mac OS X (10.4.4)

Check out Graeme's site. I think he has a frame for frame conversion. You might be able to use Conform in Cinema Tools to simply reset the frame rate to 25fps...
Patrick

60p/60i Conversion to 24p - Best Practices?

Our studio recently purchased a new camera for some run-and-gun shooting. Unfortunately, it does not support 24p natively, only 60p & 60i. It does, however, support shutter speeds from 1/2 all the way to 1/4000. What advice can you give regarding pulldown conversion into a 24p project, both for camera settings and FCPX?
Please note that I'm looking for 1:1 speed, NOT slow-mo.

Manually create an FCPX project that is 24p (select Custom Video Properties and from the Rate dropdown, select 23.98p from the dialog ). When you apply your 60p/60i clips to the storyline, FCPX will automatically "conform" your clips to the new frame rate.
Your shutter speed has nothing to do with frame rate. It does, however, affect the appearance of the video. The higher the shutter speed, the more "juttery" the video will appear. The best frame rate for a 24p finished product is 1/48th of a second (or the next nearest available shutter speed, e.g.: 1/50th or 1/60th of a second.) You can probably get away with up to about 1/100th of a second, but beyond that you will probably start noticing the severe lack of motion blur (e.g.: a bird flying will start to visually appear more than once in the video - two distinct images along its flight path.)

30p or 60i conversion to 24p...

i am making a section for a mountain bike movie for one of my friends...i will be able to film it on my camera in eithere 30p or 60i... well the company i will be sending the segment too wants everything in 24p because it will be mixed in with some 16mm footage and other 24p footage (dvx100b) sooo is there a way to convert it in final cut pro? or a stand alone app i can get for mac to do this?
thanks.

As Jerry said, better to get a camera that does 24P. If that is impossible, I'd go for Nattress Film Effects - http://nattress.com - and shoot 60i.
But my true second choice would be to shoot it at 30P and edit it into a 29.97 timeline along with the 16mm footage as it will have been transfered with a pulldown. I think that would give you the best results. I honestly think that 30P will give you a better temporal resolution for activity like mountain biking than mock 24P...
Patrick

1080i footage to 24P?

Hi All,
Just wondering. I have somne 1080i and also, 1080-24P footage I'd like to put on one HD/BluRay Disc as a 24P (or simply progressive) project. Is it possible to take my 1080i footage, and somehow, make it into Progressive (frame by frame) footage? Or would this simply be a bad idea and be of horrible quality when compared to real (recorded as) 24P source footage?

RedTruck and Hanumang,
Thanks! Honestly, here is why I asked.. I have 2 projects, off YES - the HV20. Hate it or love it - this Cam is awesome for the $1,000 I spent. I do hate the aggravation of the 'not so 24P' aspect of it - BUT, since performing the reverse Telecine in Compressor - I'm REAAALLLY Happy. (that is, on the one reel I have shot - in 24 Cinema mode, not the 1080i reel in question and the subj. of this post) The footage (the 24P footage that was put thru reverse telecine) is pristine. It looks much better then my friend's footage, off his $3500 Sony 3 CCD HD Cam - for whatever the reason..
At any rate, I first shot a 1080i reel. Then switched over to the 24 Cinema Mode Setting, which is still saved to tape as 'interlaced', so I hear. This is why I brought it into FCP as 1080i - sent to Compressor and made it to 24p using reverse Telecine. I set frame rate to 23.976 like the Apple Article Stated to do - on Apple Support website. I then saved the clips and started a NEW Project in FCP - with easy set up for 1080P/Basic Firewire. I placed clips in Timeline and all duplicate frames were gone. I scanned thru, one clear frame at a time, and it was mint. So then, I wanted the original 1080i reel to be part of "same final video" - Hence This Post!
So yea, I can 'play around' with your suggestions.. However, it does seem like the 1080i reel, may be looking degraded from what you've both written! LoL. UGH.
So, My FINAL question?: How about, simply adding any 1080i material to this 1080/24P project as is, leaving it interlaced. Can't FCP do this? Like, I read it can handle any format in same project? But, if I want the final output to be an HD DVD - some footage would be proper, pristine, 24P/24 FPS - and some 1080i. I'm not sure if the DVD would look and play back - with no detrimental side effect? (on a set top layer)

Avchd only stereo; 25i vs. 50i?

Hello everyone,
I have just imported media from my Sony HDR-XR500VE. I was eager to use surround sound.
But still I only have stereo sound - although the camcorder is set to surround sound.
Another problem: FCP shows the video as 1080i 25i - but it should be 1080i 50i. Or does "25i" mean "50 interlaced fields = 25 frames per second"?
Thanks for help,
Dirk

The same problem

Canon hfs20 1080 50i vs 25PF Final Cut Pro X Project settings

I apologise in advance if this is a newbie frustrating question....
But I have been searching and reading....and reading....and just cant seem to work it out.
I have a Canon hfs 20 legria (PAL version) camera.
I have purchased Final Cut Pro X.
The camera highest quality settings are 1080 50i or 1080 25pf.
Now, I think I understand the difference between interlaced and progressive (did some reading on the net).
What confuses me, is when I import the footage from the camera...into final cut pro X
I shot some footage at 1080 50i. ( it is intended to be used as a music video, eventually)
When I imported the footage into FCPX i let it set the project properties, taking it from the footage shot.
Expecting the project would set itself, to 1080i 50i.
I check the project properties, and they say its 1920 X 1080i 25i ( now from my reading, i assumed if it was gonna set 25 anything, it would have been 25p)
I then copied the project, and manually set its settings, to 1920 X 1080p 25p
When I play either project, and look at them in the viewer, I cant see a difference. (Now that is probably attributed to the fact that I am a newbie and dont know what I am looking for in the first place)
Now, also during my searching, I came across a plethora of people, selling coversion software, for the canon hfs20 to get it into FCP. Now I cant tell if this was prior to FCPX , and now FCPX handles my cameras footage. To be honest, from what I had read, I kinda didnt expect my footage to import, and was pleasantly surprised when it did.
So, on to my questions, you say...8)
My cameras highest quality settings, are 1080 50i or 1080 25p
I wish to get the best footage I can, and have it set so it works well with FCP X.
I dont shoot, sports, hummingbirds etc...its mainly me, sitting playing the guitar, long walks on the beach, looking longingly into the distance...8)
Which settings would work best, and what should my project be set at , in FCPX to deal with those settings.
Final delivery, will be, internet, Beta tape for TV broadcast, possibly DVD but that is a distant 3rd.
Look, I know this is probably a frustrating question, but I would really love some help. Audio, i get, Video makes my head spin..8)
thanks in advance
Wiz

Hi Tom
and thank you very much for your reply.
Okay, I will shoot in 25FP from now on...8).
I also made the change to the viewer settings, though I cant find anything in the online help manual about what it is or what it does...
thanks mate
cheers
Wiz

Transcoding from 1080p 29.97 to 1080 50i?

My master project is mixed timeline of RED R3d's, Panni AVCHD and h264 and well as P2 material. I'm making my master as a TIFF, then need to send to Europe a 1080i 50i timeline to them with audio seperated....Can i get some of the tech savy to assist on this? :
Here's what i've done:
1. My sequence is set to: 1920x1080 @ 29.97 (see attached) with max bit depth & max render selected
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3. Send to QUEUE using AME for my Encode
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How can i get to a 1080i 50i Prouct for my client in the UK? Stumped here since i see plenty of 1080i 25 and 1080i 60.....
Thanks,

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:
1. Tapes
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.

24p and After Effects...

So I'm thinking about buying the hv30 for some awesome progressive 24p video. However, I use FCE4 to edit my projects and thus have run into a problem, as FCE does not support true 24p (only FCP does). I was wondering; could I import raw footage into AE, change it to true 24p and then render it out; followed by bringing the render in to FCE to edit? Or will I run into the same problems regardless?
I'm quite new to 24p and would love some extra insight as well. I've read a few wikipedia articles on it but I'm still unclear with the 'pulldown' and exactly how it converts to 60i or vice versa.

Yes, if you do a full conversion of 24p to 30i in AE, there's no reason why FCE won't read the file as such. But note that editing the converted 30i footage in FCE will require true interlaced monitoring to ensure you don't cut on a mixed-field frame, as the FCE/FCP canvas does not display true two-field images.
I recommend as often as possible that you are much better off shooting at 30i and down-converting to 24p in software (Magic Bullet, for example), rather than the other way around. Best of both worlds, more control, more temporal information captured.
And maybe off topic, but a really great article about the merits of 24p (and other stuff) here:
http://www.dv.com/columns/columns_item.php?articleId=196604001

Sound slightly faster as images when exporting from PRE9 to DVD

Hi, I just finished cutting a film on Premiere elements 9.
Everything is fine. I do a final rendering by hitting the return tab. Then I edit my DVD
menus. Then I save the project and burn a dvd.
So far so good.
The dvd looks very nice.... expect when people speak, the sound comes a quarter of a second too early, before the mouth even opens, which is very disturbing. How can I fix this problem ?

I exported the project to a .wmv media file and the sync was correct on that output.
On the PRE project, I don't see any red lines above the time lines except above some titles.
The settings selected are format HD 1080i
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conversion method 24p
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Best Practice - Output to 240Hrz Monitor

I have a Canon HF S100 that can record in 24p, 30p, or 1080i. My destination output will be to my new monitor that I have ordered (Sony KDL-46XBR9) that has Motionflow 240Hz technology and allows 1080/24p input video format.
With the Motionflow technology and the 240Hz refresh rate will my video view better on the monitor if I record in 1080i rather than 1080/24P or 1080/30P? By recording in 1080i I have two different fields that the motionflow technology can analyze. By recording in 24p or 30p, each frame would have to be reproduced into fields( i.e., 3:2 pulldown for 24p and replicating the frame in 30p mode to create interlace) and thus information to go on. Since the monitor supports 24p I could simply use AE to remove the 3:2 pulldown and have the monitor produce the video in 24p. The motion technology would convert this to 240fields per second to give a sharper motion.
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Robbie

I always find these discussions interesting. I used to shoot a lot of commercials on my Arri 35 BL and I always shot at 29.97 FPS and transfered full frames to video because the agencies that I worked for didn't like to edit video tapes with 3:2 pulldown and most art directors I worked with hated the look of 3:2 pulldown on video.
Now days, most if my NTSC SD video is rendered without fields. What this means is that the fields are still there because NTSC video is always broadcast with fields. When you render without fields or progressive you just send identical pairs of fields to the display.
If I'm shooting HD and I want to do any time manipulation I always shoot interlaced because it gives me more than twice as many frames (separated fields).
There have been endless discussions about achieving a film look with video. It's getting easier to simulate film gamma and grain, but just converting or shooting 24P doesn't match the temporal look of projected film or the motion blur you get with a film camera. The motion blur when shooting on film comes from the exposure time of 1/51 second (170º shutter @ 24fps), while the temporal effect or movement between frames comes from the frame rate. You can duplicate the temporal effect, but unless your video camera can match the exposure time you can't duplicate the motion blur. You can duplicate the motion blur of CGI (like text) elements in AE by adjusting the shutter angle in the composition settings. If your output device is feeding a standard monitor or is being broadcast the video sent to the screen will be delivered every other horizontal line at a time. Only displays and delivery systems (progressive DVD or Blur Ray players) capable of delivering each row of pixels sequentially can mimic projected film.
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Codecs

I'm capturing footage shot on a Sony Z1 camera (on the HDV setting) into FCP 6. My input footage is HDV 1080i 50i.
I'd like to edit the footage in FCP, do the round-trip through Color back to FCP, then output via Compressor to DVD Studio Pro to produce a DVD suitable to be screened both at my local cinema and on a conventional DVD player.
What codecs should I use at each stage to obtain the highest quality DVD?

Ronnie,
I've edited and colored a few HDV and XDCAM HD projects. Since you've already captured your footage as HDV, you can edit in HDV in FCP. Just open Sequence Settings (Command - zero) and change the render settings to ProRes. Once you've locked down your edit, and have prepared your sequence for Color (as Studio X has advised, read the manuals for how to do this), just send the HDV sequence to Color. Color will support an HDV sequence sent from FCP, but cannot render in HDV. In Color, choose ProRes as your render format.
Once you've finished your color grade and render, send the sequence back to FCP, no reconnecting should be necessary. If you need to make a change to the color grade, just open the Color project, make your changes, then render the changed clips. DO NOT resend back to FCP. When Color re-renders, it overwrites any previous render files that may exist. Once the render is finished, switch back to FCP and the new renders should reconnect automatically.
Hope this helps.

Premiere Pro CC and BMD Intensity Pro Video Preview issues

I know there are many people having issues and confusion surrounding video preview file formats. For the most part, I have not had major problems, except this:
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Hi there.
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Z1user Thank you for your reply and I hope you and your wife have fun.
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Hi,
I'm having more problems with exporting Movies from Adobe Premiere.
I shoot stock video to sell with an agency - The clips HAVE to be exported in a .mov format at either Motion JPEG A or JPEG B.
The trouble is, I have a few clips of people jumping around, celebrating a goal - The clips were rejected from the agency due to Ghosting.
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Filmed on Sony Z1 at 1080i (50i)
Captured into Adobe Premiere (I've tried 1.5.1 and I've also bought CS5 to see if that works, but still the same problem!)
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Movie export settings - Quicktime - Motion JPEG B - 1920 x 1080 - 25 fps - Square pixels - 97% quality - Upper field first
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No, I haven't downloaded it - Does CS5 not come with it built in?
Forgive my ignorance, but what do I do with it after I've downloaded it?
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Andy

1080i/50i conversion to 24p

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