24P & 30i question

I have a sequence that I'm planning on building and for reasons to lengthy to go into here, I'm commited to keeping it with both 24P clips and 30i clips.
Question is, Are there any settings in FCP that need to be checked/changed if I'm going to be working with 24p clips? The 24p is standard 24p (2:3:2:3).
Any settings critical to other import/export activities?
Thanks for the help,
Dee

I have had to do this from time to time.
You'll want to work in a 29.97 timeline. The 24p (standard) should look just fine. What I remember, though, is there may be rendering for the 24p when you move it around or edit it. If this becomes a nuisance, at least nest the sequences you don't have to play with, so if they are moved along the timeline, you won't have to render them each time.
I hope my recollection is right here. If you have questions, e.mail me.

Similar Messages

  • SF300-24P - SNMP question

    Hi,
    I've a script that does the check of port status asking OIDs
    .1.3.6.1.2.1.17.4.3.1.2
    .1.3.6.1.2.1.17.4.3.1.1
    .1.3.6.1.2.1.2.2.1.8
    after a firmware upgrade, all these OIDs are not available.
    for example:
    snmpwalk -v 2c -c public 192.168.1.197 .1.3.6.1.2.1.17.4.3.1.2iso.3.6.1.2.1.17.4.3.1.2 = No Such Instance currently exists at this OID
    I also tried to follows procedures like:
    http://www.cisco.com/en/US/tech/tk648/tk362/technologies_tech_note09186a00801c9199.shtml
    using the community string indexing (I don't think that it applies to small business switches) but for desperation...
    Have you any suggestion?
    Thank you very much in advance,
    and sorry if it's an already asked question, I've tried the search button, but without finding a definitive answer.
    Best Regards,
    Franceco

    Hi Tom,
    thanks for your answer,
    on my first switch (firmware 1.0.0.27)
    francesco@europa:~$ snmpwalk -v 2c -c public 192.168.1.195 iso.3.6.1.4.1.9.6.1.101.53.4.1.5.1iso.3.6.1.4.1.9.6.1.101.53.4.1.5.1 = STRING: "1.0.0.27"francesco@europa:~$ snmpwalk -v 2c -c public 192.168.1.195 iso.3.6.1.4.1.9.6.1.101.53.4.1.6.1iso.3.6.1.4.1.9.6.1.101.53.4.1.6.1 = STRING: "SF 300-24P"francesco@europa:~$ snmpwalk -v 2c -c public 192.168.1.195 1.3.6.1.2.1.17.4.3.1.1iso.3.6.1.2.1.17.4.3.1.1.0.1.108.10.28.67 = Hex-STRING: 00 01 6C xx xx xxiso.3.6.1.2.1.17.4.3.1.1.0.5.51.63.126.18 = Hex-STRING: 00 05 33 xx xx xx...iso.3.6.1.2.1.17.4.3.1.1.228.31.19.196.116.24 = Hex-STRING: E4 1F 13 xx xx xxiso.3.6.1.2.1.17.4.3.1.1.228.31.19.196.116.26 = Hex-STRING: E4 1F 13 xx xx xxfrancesco@europa:~$ snmpwalk -v 2c -c public 192.168.1.195 1.3.6.1.2.1.17.4.3.1.2iso.3.6.1.2.1.17.4.3.1.2.0.1.108.10.28.67 = INTEGER: 1000iso.3.6.1.2.1.17.4.3.1.2.0.5.51.63.126.18 = INTEGER: 1000...iso.3.6.1.2.1.17.4.3.1.2.228.31.19.196.116.24 = INTEGER: 1000iso.3.6.1.2.1.17.4.3.1.2.228.31.19.196.116.26 = INTEGER: 1000francesco@europa:~$ snmpwalk -v 2c -c public 192.168.1.195 1.3.6.1.2.1.2.2.1.8iso.3.6.1.2.1.2.2.1.8.1 = INTEGER: 1iso.3.6.1.2.1.2.2.1.8.2 = INTEGER: 2...iso.3.6.1.2.1.2.2.1.8.100000 = INTEGER: 1iso.3.6.1.2.1.2.2.1.8.300000 = INTEGER: 1
    On firmware 1.1.1.8 same output.
    If you need somthing else, please let me know.
    Best Regards,
    Francesco

  • Upgrading SF200-24P firmware questions

    I have an SF200-24P running FW 1.2.7.76 and boot 1.1.0.6. I wanted to update the firmware in hopes it would help with a weird problem I'm having with a UC320 phone system so I downloaded from Cisco Sx200_FW_Boot_1.4.0.88.zip.
    The instructions say if I'm upgrading from something earlier than 1.3.5, I first need to upgrade the device image to "to image 1.3.5 or 1.3.7 and the latest boot file (1.4.0.x)."
    In the ZIP file I downloaded from Cisco are two files:
    sx200_boot-13506.rfb
    sx200_fw-14088.ros
    Are they just saying I first need to load the sx200_boot-13506.rfb, then load the
    sx200_fw-14088.ros file?
    Or do I need to download a previous copy of the firmware? If that is the case, do I just download 1.3.5.58 and install the .ros file in that archive, wait for the switch to become ready, and load the .ros file from the 1.4.0.88 archive?
    I'm unclear on the process of getting my switch with old firmware updated to the newest firmware. So any tips would be appreciated.

    Hi,
    First upgrade to version sx200_fw_1.3.7.18.ros and Boot code sx200_boot-13506.rfb.After that upgrade to  latest firmware sx200_fw-14088.ros .Not required to upgrade the boot code .since boot code is same for both version firmware.
    regards
    Moorthy

  • HV30 24p 30p and Final Cut Pro

    Hi I am planning on buying a Canon HV30 in about 2 to 3 weeks.
    I have a MacBook Unibody
    2.4GHz
    1GHz FSB
    4GB Ram
    320 GB HD
    500 GB External HD "USB and FireWire"
    Final Cut Studio 2
    This is for Family events and fun stuff.
    Well since my Mac no longer has FireWire I am buying a MacMini to use to import.
    I asked what I should get for specs and now know thanks to "Shake 'n' Bake"
    I am going to use the MacMini to Capture my footage directly onto my external HD.
    "I will most likely use the mini for other things"
    I will edit the captured footage on my MacBook
    Question 1: What should the settings be on the HV30?
    Question 2: Should I install Just Final Cut Pro onto the Mini for capturing?
    If Yes
    Question 3: What capture settings should I use for 24p?
    Question 4: What capture settings should I use for 30p?
    Question 5: What capture settings should I use for 60i?
    Question 6: Should I use ProRes or is the HDV the actual tape format. And which is better?
    Question 7: What should the settings be set to on log and capture?
    Question 8: How do I convert the 24p to real 24p?
    Question 9: How do I convert the 30p to real 30p?

    Another thing to bear in mind is that you should not believe automatically what others tell you however qualified they are!
    What suits them and their equipment etc. may not be best for you.
    You should always test everything yourself.
    To test a technique you only need to shoot a minute or so of video, capture it, slap in a couple of transitions and effects and burn to DVD. I keep some re-writable DVDs specifically for testing as I can use them over and over again.
    Make sure your minute of video contains static and moving shots together with camera pans.
    This is essential to spot problems because a static shot may produce a beautiful result on a DVD whilst a moving one may be full of jitter and judder all caused by your camera setting, editing methods or DVD burning.
    A test like I have outlined can go from shooting to DVD in under 15 minutes.
    I would suggest testing your camera's interlaced and progressive modes, together with editing raw HDV and Pro-res etc.
    This way, in a very short time you will have definitive answers as to which techniques suit you best.

  • List of compatible High Def Camcorders?

    I have been looking through these forums and there seems to be a lot of problem with High Definition camcorders and Final Cut Express 4. Is there a list of high definition camcorder anywhere that definitely work with FCE?
    Off topic;
    Also it seems from what I have read that FCE4 has a problem with 1080i/p sources. Does it work fine with 720p footage?

    Brad297 wrote:
    .. Anyone know how often Apple updates their list of compatible camcorders? ..
    No.
    .. ok, the guy in Cupertino performing this tests do..
    never realized a 'scheme' (every 3months..).
    best practice: ask here other users for their experience.
    and rule of thumb: models from same 'family' of products which are listed often are compatible.. if you see a model ABC100, there's a very high chance that ABC200, ABC400 and ABC400i perform too.. (=same rec hardware, just additional 'add ons')
    iMovie is interested in the storage technology, which are basicly: minDV (SD and HDV), HDD (mp2), SDcard (avchd) and Sonys proprietary memsticks.
    iM get hickups, when standards are 'benched' - first FullHD AVCHD devices made iM stumbled (fixed); afaik, 5.1 surround (from a stampsized mic.....) could make it stumble; ...
    .. and there's actually a huuuge discussion on 24p, 30i, 30p, 29.97i, 60i, 60p..

  • Stacked SF500-24P and routing question

    I'm looking for a stackable L3 switch which can do routing and with PoE and I think the SF500-24P is just right for me but have a question.
    Is a stack of 2 of these switches seen as 1 device with 1 outside ip address per VLAN by devices that have this stack as the default gateway? or is something like VRRP active between the 2 stack switches and they both have their own ip address?
    Thanks in advance,
    Jasper

    That is correct.  The entire stack seen as one device.  once the switches are stacked, there is no need for VRRP, HSRP, etc.. It is all one switch with one IP for management.
    HTH

  • Workflow Question: 24p (Varicam) Masters, 29.97 down converts for offline

    I know in part this question has been raised here before, and I know the Cinema Tools method for getting back to 24p... but I would like to discuss briefly the pending workflow on a project I am about to begin with someone who has tackled this before.
    I am cutting a feature, shot on Varicam at 24p. The film has already been rough cut in FCP and I am inheriting the project to re-work the rough cut and "on-line" finish the film. The initial editor did not reverse telecine the clips before cutting, so all the clips and the timeline are in 29.97. I know I could finish the off-line using the DV footage, then reverse telecine the EDL to on-line back to the 24p HD masters, but there are a few other issues.
    First, there is over 19 hours of original scenes that currently make up a 2 hr rough cut. This cut needs a pretty extensive re-edit before it's ready for the sound designer to step in, maybe 2-4 weeks of work. The FCP project has not been broken down by scenes, just master clips for each reel (yikes!). I am not confident in the audio that is on these DV tapes and I would prefer to work with the original HD source to finish the job, as the audio editing will fall mostly to me to accomplish. This project will also need extensive color timing as well. From a general workflow standpoint, I feel that if I had all the HD loaded, and re-organized by scene that I could work more efficiently to finish all the aspect of this film.
    So the nuts and bolts of my question is this. Can I convert both the timeline AND the already logged master clips to 24p so that I can load in the HD as whole reel clips as they currently are logged and refer back to the timeline? I want to work from the existing timeline, but also have ALL the footage loaded in as HD 24p so I can sub clip by scene and rework the cut.
    Thanks in advance.

    HD isn't as simple as SD...not by a long shot. With SD, we captured offline at 29.97, and then onlined at 29.97. The biggest thing to worry about was that our shoot masters were 29.97 NDF but stock footage was 29.97DF, and that tended to mess up EDLs for the online.
    But then comes HD. 720p...1080i...1080p. 23.98, 24, 29.97, 59.94. So many options...things got really complex. Now with HD you really need to know what your deliverable is...even before you shoot. Because everything is geared toward getting that final master. You CAN proceed without knowing that, but then getting the proper master will require more hoop jumping. So, at this point, you need to figure out what you want to deliver and work towards that. 1080 23.98psf HDCAM? 720p 59.94 D5? 1080i 29.97 HDCAM? You have to figure this out.
    Editing 24p footage from the Varicam (which translates to 23.98) at 29.97 DV was a poor choice. DVCPRO HD 720p24 isn't even twice the file size of DV. DV is 3.6MB/s, and DVCPRO HD 720p24 is 5.4MB/s...so editing native would have been the wise choice. But that is moot. Moving on.
    When I edited a 16mm film...shot on 16mm, telecined to HDCAM at 23.98...I captured DV downconverts that ran at 29.97. I asked the post facility doing the online if I should do it at 29.97, or should I reverse telecine to 23.98...they said stick with 29.97, so I did. Then we changed post facilities and they said I really should have been editing at 23.98...because I have now made the online rather tricky. But this is what they had me do. Export an EDL of the 29.97 timeline. Use Cinema Tools to convert that from a 30fps EDL to a 24fps EDL. Then give them this and the final project. They were able to rebuild the cut, with some issues where I had speed changes, but they did it.
    So what you need to do now, is find the place that will be doing the online, and get someone there to get this thing where it needs to be. It isn't as simple as recapturing at 29.97 or 59.94. The footage was shot at 59.94, but with flags set to make it 23.98 when captured. If you had a Kona or Decklink capture card, you could capture it at 59.94, but that format won't match up with the 29.97 EDL...different time base. And you cannot capture 59.94 as 29.97...not unless the footag was flagged in the camera as 720p30.
    This is a very complex situation and I have barely scratched the surface. THis is why you need help from an HD expert, preferrably someone from the post facility where you will be doing the online.
    Shane

  • Question for  Working in 24P

    Hi,
    I have a question as I am editing a short film that I shot in 24P. My cinematographer accidentally shot half the film 24P Advanced and half in 24P Standard.
    I brought the advanced footage in no problem, but had to use cinematools to convert the standard footage to 23.98.
    Now that I am ready to begin editing, what is the best way sequence preset to use in order to bring these two pieces of footage together? Should I edit in 23.98 or 24P?
    Any assistance would be much appreciated,
    Thanks!
    Powermac Dual Core 2.3   Mac OS X (10.4.2)   2GB RAM

    i'm always thoroughly amazed at how frequently the "cinematographer" accidently doesn't know what frame rate he's shooting in.
    elli, you're already ahead of the curve if you figured out cinema tools. good on ya!
    the only sequence timebase to edit in is 23.98 fps. 24p is manufacturer shorthand that does nothing but confuse folks into thinking they're getting something film like from their video camera.
    here's good info about 24p (ntsc 23.98 fps) and you should study it if you've not already.
    http://www.adamwilt.com/24p/index.html
    http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
    good luck and post back with success. remember, if you drop a clip into your sequence and you immediately need to render, clip and sequence settings are mismatched.
    zeb

  • 24P question....

    Hello - I started a thread a while ago and it won't let me post there so I'll start fresh - link I was referring to is:
    http://discussions.apple.com/thread.jspa?threadID=1027107&tstart=0
    So, I just got back from shooting about 8 hours of HDV with the camera set at 24P as opposed to the higher frame rate I had previously used with the intent that my final product will be able to be exported for use on Apple TV at 1280 x 720. Well, what seems to be really odd and perhaps this question should be in the FCE forum (that is what I'm using - apologies if so) is that after I capture a tape and I'm using the Apple codec opion for HDV - the files imported say the tape has a 29.97 frame rate! - really confused....any thoughts??
    Thanks,
    Steve

    Stephen,
    After you capture the footage from the camera - you need to apply Reverse Telecine to the footage to turn it into real 24p footage.
    If you don't, you something that looks just odd.

  • Wrongly imported 24p Advanced into 30i timeline.

    Dear Forum,
    I shot 24pA and imported it into a 30i timeline thinking that the output onto BetaSP would be in 30i. I am now almost done with editing this project and realized that I may have edited in the wrong timeline all along. Since the pull down (2:3:2:3 vs. 2:3:3:2) is not accurate and leaves me with an additional field of lines, making the image look striped every few frames. Is there any way of taking out these additional frames at this point? If I would have edited this project in a 24p timeline as required for 24pA shooting, how could I even output to a 30i format?
    Thank you very much for your answer.
    Sarah
    PowerBook G4   Mac OS X (10.4.7)  

    Your 24pA footage actually comes off the tape as 30i with the advanced pulldown, which is just the pattern of interlaced and de-interlaced frames which allows the 24p to be "put back together" from the 30i.
    If you don't remove the pulldown, you should be able to edit these clips into a 30i timeline and not have any problems. You might see field lines in the canvas, or jiggly freeze frames on your external video on interlaced frames, but if you have used easy setup, and the field dominance of your clips matches that of your sequence, the 30i motion video should not show field artifacts. It is possible that if you have source material that has cuts in it, that you can get frames with fields from either side of the cut, but that's not to likely on tapes that came right from the camera.
    If you want edit in 24p, you are in luck that your footage is 24pA, because this can be converted right in FCP, either before capture, or after, with "remove advanced pulldown". Once this is done, you will have 24p clips (23.98) that you can edit into a 24p timeline and everything will be progressive and groovy. When you output back to tape from a 24p timeline, there is a setting in the A/V prefs to determine whether the output to tape uses the standard or advanced pulldown. If you master the 24p to tape (where it will have pulldown added, as you can't acutally record"24p" on videotape) You should use edit to tape to be sure the program starts on a 00 frames point, such as 01:00:00:00 on a pre-striped tape with NDF timecode. Observing this standard will streamline any inverse telecine process that might be done with tape in the future, such as encoding to 24p for DVD, ar getting a film transfer made.
    hope this helps

  • To 24p or not 24p that is the question...

    Hey,
    Is it better to create a 24p DVD over a 29.97 one? I shot my feature in 24p. I shot it actually in 24p Advanced in Letterbox mode. Used the Panasonic DVX100 original.
    Ideas? Suggestions?

    Hi Chris:
    Starting a new thread with the same question will not help to get an answer. You have all these threads running with the pretty same problem:
    http://discussions.apple.com/thread.jspa?messageID=5478317
    http://discussions.apple.com/thread.jspa?messageID=5469919
    http://discussions.apple.com/thread.jspa?messageID=5487900
    http://discussions.apple.com/thread.jspa?messageID=5451416
      Alberto

  • 24p Advanced on P2/Hard Drive - First Timer Questions

    I'm getting ready to edit a project that is going to be shot on a Panasonic HVX 200- onto 8 gig "P2" cards, downloading them on set to a mini mobile editing system to a Digital Hard drive. The production company is going to send me the hard drive. It will apparently be shot 24p advanced. Normally, everything I've worked on for years has been shot on 35mm or 16mm and transferred to beta or Dbeta for me to edit with. I will not be finishing this project - only offlining, but I have some questions:
    I can edit 24p Advanced HD with FCP, correct?
    Since It's only going to be on a hard drive, should I transfer it to my CalDigit SATA RAID to edit with?
    I use an AJA io SDI box and the new JVC flatpanel HD/SD broadcast monitor. Will I be able to output this on my monitor with this setup?
    Anything special to look for when outputting 24p EDLs?
    Basically, any advice on workflow with this would be greatly appreciated. I'm an old-school, film and Avid convertee and I hope to make a smooth transition to HD.
    MacBook Pro, FCP 5.1, AJA io, Caldigit SVRDuo 1.5TB, Lacie Rugged FW Drive   Mac OS X (10.4.8)   Other Macs/Editing Systems Owned

    The raw P2 files. They're in a folder with the job name. It's listed "Card 1", "Card 2", etc... I'm copying them over as we speak to the RAID.
    No no no. STop...stop now. That is NOT what you are supposed to do. You need to import the footage FROM that drive using the P2 IMPORT (or Log and Import...whatever the FCP 6 term for it is)...LEAVE the raw on the Lacie. Importing them converts them to Quicktime files you can edit.
    You gotta watch this tutorial before you go ANY further:
    http://forums.creativecow.net/cgi-bin/pagewrapper.cgi?forumid=8&page=http://www.creativecow.net/articles/ross_shane/p2workflow/index.html
    When I create a Capture Scratch folder, I tend to get several "Capture Scratch" folders inside of that folder (as opposed to having them all in the OMFI folder in the Avid). How do I keep them all organized into one folder (or do I need to do this?)\
    Stop thinking in Avid terms now. Get that out of your head.
    When you choose the CAPTURE SCRATCH, choose the drive itself. NOT A FOLDER ON THAT DRIVE. This way you'll have all the right folders on the base level of the drive.
    How do I keep them all organized into one folder (or do I need to do this?)
    Click on Underdog to get to my blog...then click on the DVD on the right hand side. This is my tutorial DVD on how to organize yourself in FCP. FCP does things VERY differently from an Avid, and if you take the Avid approach you'll get lost and burried, FAST. Buy this DVD (shameful plug) and watch it. But watch that tutorial first.
    Again, this will be conformed elsewhere, but hopefully, my EDL and ref tape will do the trick.
    Get this figured out now. Talk to who is finishing it because this workflow is VERY different from a tape based one. There is no offline, you are cutting at full resolution. There is no conform, as there will be no recapturing of the footage. It is unnecessary. They need to talk to the finishing house now and get this figured out before you do something you shouldn't.
    Shane

  • 720/24p Question

    Hi. I am a beginner with a question. I am having an issue with the frame rate in FCP. I have been shooting at 720/24p on an HVX 200. I am recording to a Firestore FS100. It is set to DVCPRO HD and the format is set to P2. I have the FCP 6.0.4 sequence and capture presets set at DVCPRO HD 720p24. I have also checked the "Remove Advanced Pulldown and Duplicated Frames" box in the Import Preferences drop down of the Log and Transfer window. When I transfer the clips the video rate shows up in the browser window as 59.94. Is there something that I am missing to get the video rate to 23.98?
    I pulled the same clips from the Firestore into Premier and they came in at 23.98. Any help that anyone could give would be awesome.
    Thanks!
    Jeff

    Not to my knowledge. The extra frames in the 60p stream are just duplicates of the 24 that you want, so they don't hold any useful additional information. The only reason 24p records into a 60p stream is that the specs for the tape-based DVCPRO-HD format (that the HVX inherited) only support a 60p stream for 720p. The HVX embeds 24p into a 60p stream so that you can record the stream directly onto a DVCPRO-HD tape deck, if you want.
    However, since we now have P2 and FS100s that don't carry these stream restrictions, it probably seems a little wasteful to record all those duplicate frames, doesn't it? Fortunately with the FS100's newer firmware versions you now have the option to save only the frames that you're actually shooting.
    There's a storage comparison chart for the different shooting modes here:
    http://www.focusinfo.com/solutions/catalog.asp?id=150

  • Questions about XL2 24p and capturing

    Hello
    I have been reading through the posts and wondered if anybody could answer this question. I will be shooting on an XL2 using the 24 (Advanced or otherwise). Now I know how to set up FCP for capture, but I am wondering about capturing from a deck or another camera. I own both the XL2 and a GL1. I am wondering if I can capture footage shot in 24p (advanced or otherwise) using a the GL 1 as a deck.
    It would seem to me that I can't because the GL1 does not possess the 24p option, but I am not really sure. Does the deck actually play back at 24p or does it playback at 29.97 and FCP just takes the frames it wants?
    I ask this for saving wear and tear on the XL2 as my GL1 still works, but i won't likely use it for anymore shooting now that i have the XL2.
    Thanks for any help you can give.

    Any deck (almost) will read the tape fine. It's all just 0s and 1s.
    Do some research on what the xl2 uses for cadence and what it actually means to add cadence.
    In fact... a few posts down you'll find some good information.
    CaptM

  • 24P Advanced Pulldown Playback Deck question

    Can I playback a tape recorded on a DVX-100B using 24PA on any DV deck and still capture the progressive output using the advanced pulldown?
    While I normally work in P2 DVCProHD for 24P, the last few times I used 24PA on DV I used the camera to capture the tapes.
    I had to return the equipment and didn't have time for a transfer and was wondering if I could use the JVC DV deck I have at my disposal and still capture the 24P footage with the advanced pulldown option in FCP that I use when capturing from the DVX-100B.
    Many thanks!
    Macbook Pro C2D, Mac Pro Mac OS X (10.4.8) FF800, Logic Pro

    I did read your post. So what happens when you play
    back a DVX-100 tape in that deck? No image? Damaged
    deck or tape?
    i see. at first i didn't understand your question.
    the answer to the original question is of course yes, the tape can be played back, i should have said that.
    the other answer is not every machine will read the pulldown flags in the data stream. i obviously wasn't clear. i use my jvc vtr all the time. if i need to capture anything with 24p or pa, i log with my jvc, then i capture with one pass on my dvx.
    sorry for the confusion which was a blatant indication that i was insufficiently caffinated!
    zeb

Maybe you are looking for