24p(A) SD workflow?

I am producing a feature film using a Panasonic AG-DVX100b. I'm going to shoot in 24pA SD and edit in FCP. I am currently using FCP HD 4.5. Unless I get an offer form a major distributor (hardee har har), the movie is going to be distributed on DVD. Can anyone suggest a specific workflow (capture specs, timeline specs, etc.) for this exact type of production, or is there somewhere I can look (website, book, etc.) to find this info? I have produced several videos in the past shooting on miniDV (30i) with no problems, but this 24p is giving me a few headaches. I know I should bite the bullet and buy an HD camera, but I own the DVX, so that's what I'm going to use.
If anyone could offer some suggestions I would be forever in your debt.
T'anks,
Lloyd

Hi Thomas,
Thanks for your inputs,
I will again tell you whole scenario,
There is a dunning work flow, which is configured for BO BSEG-->CHANGED as event.
when I have checked the document number in FB03 and navigate to wf overview then I have got that work flow has been triggered many times for the same instance key in some difference of time.
then I have checked the changes if any in the document from FB03 transaction but it's showing no changes.
So here i am confused that from where this event has been triggered?
I have also checked swe2 entries
there are three entries made against BSEG business object.
BO   <--> Event <>   Receiver <--
>    Receiver FM
BSEG---CHANGED SUBSCRIBE-----SGOSSUB_REC_FB_SEND_MAIL     some check fm
BSEG---CHANGEDWF1--
FM
BSEG---CREATED -WF2--
FM
I dont have any idea what the 1st entry is for ? Here is this SUBSCRIBE making any difference ?
So that's the whole situation.
Regards
Dev

Similar Messages

FCP5 and 24p

Hello,
I just got on board this project. I'm basically trying to make the process of editing it smoother than what it has been up tuntil now.
They shot in 24p. I don't know if it was advanced or standard. They are about to start editing with Final Cut Pro 5.
The output will be a 24p DV and maybe even film (as somebody is offering it for free -- of course no tests were run beforehand, they just forged ahead)
Here are my questions:
(A) - How do I find out what 24p they shot in? I read somewhere on this forum that one would need to take a look at the frame rate. But what's the difference between the frame rate of 24p advanced and 24p standard?
(B) - Which setting should the editor use to capture the 24p Standard footage, considering that we are going for a 24p DVD output?
(C) - Would the editor be right to use the "DV-NTSC 24p (23.98) Advanced Pulldown Removal" setting to capture the 24p Advanced footage?
(D) - What do people mean by "24p DVD" output? Is it simply to burn a 24 final cut on a DVD? Or does it require more work than that? (We have the DVD authoring software that comes with the Final Cut Studio package)
Thank you much for the help.
Alex

What a goldmine this thread was to me this week! I had almost an identical situation arise. 24p 16:9 that the client wanted burned to DVD.
The media was on MiniDV 1hr26min. of footage. He also wanted to keep it at 23.98 for the DVD vs. 29.97
After careful reading of this thread and a couple of others to get some real-world working knowledge of 24p and the workflow, off to burn I went!
A couple of important things came to mind. Fisrt it was really a lifesaver to visit http://www.jkor.com/peter/24editing.html before starting.
By reading that site I found out that my MiniDV deck JVC BR-600UA would not allow you to use the Easy Setup for Advanced Pulldown. That was a touchy subject for me, because I had already commited to the job. A quick call to the client to ask about camera settings during the shoot eased my mind. He had not used Advanced Pulldown.
Now it was just a matter of capturing and running Cinema Tools to remove the pulldown. Well almost...
Since the project was ws on 2 tapes and had minimal editing, I simply made 2 captures. The issue was that Cap1, was 60min long and the file was to large for Cinema Tools to handle.
The shorter Cap2 was no problem. After breaking the first Cap into two smaller clips, it went like butter. Lesson learned:)
Next came Compressor for the MPEG files and finally DVDSP, in which I got another surprise. This project was going to require a Dual Layer disc.
Somehow I missed the part in the manual where it talks about establishing a break-point marker in your timeline. Lesson learned
Bottom line... Project is complete 2 days ahead of schedule and works perfectly.
Thank you to all who contribute here. The 1 hour of research saved me at least 3 days of headaches, and certainly would have created quite a different post here in this forum from me on this subject.
LOL!
G5 Dual 2.7 Mac OS X (10.4)
G5 Dual 2.7 Mac OS X (10.4.2)
G5 Dual 2.7 Mac OS X (10.4.2)

DV 24p to DVD - Best compression and workflow

Hello,
I shot my thesis film on the Panasonic DVX-100a a few years back. Ran out of money and never finished. Luckily, I have the resources to now wrap it up and have some questions about the final export to DVD workflow.
We re-digitized the film from the original tapes and rebuilt it in FCP. Cut it, had it mixed, and now ready to output it.
What I've done thus far:
1. Exported Quicktime movie from timeline (using project settings - DV)
2. Opened that up with compressor, compressed to 90 min best quality
3. Screened on plasma (looked like ***) and LCD computer monitor (looked ok)
What I'd like to know:
1. Is there a preferred workflow/setting to go out of FCP and onto DVD that will yield better results than what the steps I described above?
What I was considering doing:
1. Exporting an uncompressed or animation version from the timeline.
2. Opening that in Compressor, bumping up the bit rate to 6, using CBR.
3. Making beta dub to screen for interested parties.
Original Footage:
1. We shot Panasonic DVX-100a 24p. Super happy with the look of the film until I saw it on the plasma. I love that rough look but not when it looks like an accident.
So, any thoughts or recommendations would be greatly appreciated. Thanks for taking the time to read this and potentially help my little movie.
Best,
Wolf

Not really; DVDs just aren't good enough for huge, progressive plasma TVs. You can certainly do a lot by keeping the bitrate high enough (but not high enough to cause problems), using a tripod, good lighting, good camera, and best settings. But it still is an interlaced, standard definition source. And of course, don't transcode to a different format when you don't have to; go from your source format to mpeg2.

24P Workflow

We got a new HD system last year with two Panasonic HPX500P cams. We do Corporate Video so we generally stick to 30/60i settings but I wanted to play around with the Cine settings on the camera. I've been digging through the menus and output some 24P footage but everytime I bring it into FCP, even in a sequence that is set for 24fps it still looks bad to me. I know it's the pulldown but I don't understand why FCP isn't compensating for that. I've seen other posts that say to bring the footage into Cinema Tools to correct the pulldown and get it to 30fps but that just seems odd to me. Shouldn't you be able to edit it raw in FCP and then change the settings when you do final output, depending on how you want it to be output?
I would love to hear experiences/workflow from someone that has shot 24p both for final output to TV and for Film if possible. Thanks!

I had just assumed that when you were in FCP and had the sequence set to 23.98 that it would be smooth on my monitor. Why wouldn't it be?
Well, did you SHOOT 23.98? Look at the frame rate of the footage. Is it 29.97 or 23.98? If it is 29.97, and you put it into a 23.98 sequence...then no, it won't look good at all! FCP doesn't remove pulldown properly in the timeline. Instead of 2:3:3:2 or 2:3:2:3, it does 2:2:2:4. BAD. So no, just changing the frame rate doesn't work. That only works well with Avid Media Composer 4.0.
So, why shoot in 24p at all?
To get the film look. You can shoot 24p and have the frame rate still be 29.97...as I said. People who shoot 23.98 either master to 23.98 (HDCAM SR, HDCAM, D5 formats support this)...or output to DVD directly, and that supports this, or print to film. Or upload to the web only...that supports 23.98. OR, because 23.98 takes up a lot less space than 29.97. And if you have a decent HD capture card, it will add the proper pulldown when you output. So you can shoot and edit 23.98, but deliver 29.97. SD tape, and a lot of broadcasters and corporate delivery requirements are still 29.97.
Why have the option on the camera?
Because people want the film look, and don't like the VIDEO look. Mainly people shooting short or feature films...and TV shows and some documentaries. Before 24P people bought PAL versions of cameras that shot 25fps, then adjusted the speed when they were done to 24fps.
I had assumed that was part of getting a more Cinematic look to the footage.
EXACTLY.
But if it just ends up as 29.97 why do it at all?
Because some of us don't like the smooth video "soap opera" look of 29.97. And as I stated, you can shoot 24p at 29.97 and edit 29.97 just fine.
I shot in every mode on that camera and did comparison. It won't do 1080p/24p, though, just 1080i/24p.
1080i 24p is the way to get 24p in a 29.97 frame rate. it is just called 1080p24 by some people.
Shane

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

Panasonic 24p footage - workflow in CS4

Hi there,
Although it’s my first post on this forum I’ve been reading and browsing for answers to my questions before – it’s not the case for me to give advises, not yet at least!!!
But this thread just confuses me a lot and I don’t think I fully understood the previous related discussions I’ve read. So here is my question:
What’s the workflow in Premiere CS4 with DVX100 footage, 24pA (although I also have some 24p Standard – meaning 2:3:2:3 pulldown cadence) to obtain a 24p video with Nooooo interlaced artifacts?
For the 24pA, from what I reasoned myself and read on this forum, I chose the 24p Standard present under DV-24p. Captured the footage and applied the Interpret footage -> Remove 24p DV pulldown. Set the in and out points; dragged it on the timeline of a sequence (24p preset). None of the Source or the Monitor windows show any interlaced artifacts and the timeline shows NO red line above. So it should be a 23.97fps footage, right?
BUT, as soon as exported (in the Microsoft AVI format with, for e.g., the NTSC DV 24p preset) I DO see the video as interlaced in BSplayer, while with Windows Media Player it shows no interlaced artifacts. I thought that my BSplayer is configurated wrong, but, any further compression I apply to this like exported video (a DivX codec, for e.g.), gives me a new video file with interlaced look in BOTH players. I’m loosing my mind – where do I do wrong? Project settings? Export settings?
(the footage was shot on tripod, but with a lot of motion in it - sport! And is designed to be exported for DVD and to be viewed on computer.)
2. How could I mix 24pA footage with 24p Standard footage of the same DVX100? As, for mistake, the 1st day I shot 24p Standard instead of 24pA?
From what I understood the 24p Standard need a 29,97 fps sequence – is it right?
Thank you,
Karmen

It works--I've done it dozens of times with hours of 24p (not 24pA) footage. The 24pA cadence wasn't necessarily designed to make 24p editing possible; it was designed to make 24p editing less taxing for a computer and somewhat higher quality, because a whole "frame" (and I say "frame" in quotes because there are no such things as "frames" in interlaced video) could simply be discarded.
I understand the logic of your thinking, but again, keep in mind that are no such things as frames in interlaced video. Each field is written independently, but we like to think of a video frame as being comprised of a top and bottom (or upper and lower, or odd and even) field because it's easier to comprehend that way. For the most part, this thinking works; that's the whole source of the "is it 30i or 60i?" nomenclature question.
Now, while I'm not too sure about the science or math of it--I try to stay out of the part--I believe the way that DV compression works is to package those two fields together as a "frame", simply for compression purposes. The fields are still independent, and can be recovered as independent entities, but it involves decompression to reverse the DV compression. Once you do that, you have two separate fields, and in the case of 24p, those independent fields can now be reassembled in the proper order to recreate 24 independent progressive frames. It is the 2:3 pulldown cadence that tells the software which fields it needs to use to recreate the independent frames. Of course, it's still DV, so in order for it to be played back properly, there must be a recompression step.
And this is why 24pA was invented. It's still recorded with fields, because it's interlaced DV at its heart, but the 2:3:3:2 cadence allows for the third "frame" of five to simply be ignored: everything the editing software needs to create a 24p stream is already encoded in the DV stream, without any decompression or reassembly needed. Recording using 24pA maintains a somewhat higher quality on those frames that would otherwise have to be reconstructed if the video was recorded with 24p, and there is theoretically less of an impact on computer performance because the decompression/recompression cycle is being avoid (though I doubt that has much bearing on any computer manufactured within the last few years).
I know it seems like voodoo, but that's really how it works (distilled a bit, I suppose!). Check out this article at Adam Wilt's website for more information, as well as some graphics that illustrate what's going on in 24p and 24pA recording.

HD 720 24p workflow to SD DVD

I have an HVX200. I shot in HD 720 24pn, editing in 720 24p timeline, how do I see the output on a SD monitor in realtime in order to do color correction? I only have a fiirewire DVCam deck. I can onlt seem to see one frame at a time through my deck?
After editing in the 720 24p timeline, I tried select all and pasting into a DVNTSC (29.97) timeline. I can see the video in real time, but I got one frame gaps in my sequence. What do I do with that?
I've read that outputting through compressor is best workflow to DVD, but I would like to see it on a SD monitor first to color correct.
Confused

You cannot view DVCPRO HD thru a DV deck in real time. Nor will you see anything resembling accurate color. You will need an HD capture card and HD monitor. One cheap option is the Matrox MXO and Apple Cinema Display.
http://library.creativecow.net/articles/ross_shane/MXO.php
If you have a MacPro, you can look into the Decklink Intensity and then an HDTV.
After editing in the 720 24p timeline, I tried select all and pasting into a DVNTSC (29.97) timeline. I can see the video in real time, but I got one frame gaps in my sequence. What do I do with that?
Don't do that. Why are you doing that? When you copy and paste clips of one frame rate into a sequence of another frame rate...that happens. So...don't do that.
I've read that outputting through compressor is best workflow to DVD, but I would like to see it on a SD monitor first to color correct.
Well...you can do it the way you are doing it, but the colors won't be accurate and you can only see one frame at a time. Unfortunately you cannot route the signal thru the camera like you can DV...so you are still looking at needing an HD capture card and HD monitor or TV. Or MXO/ACD.
Shane

Canon HV20 24P HDV workflow, Some things with FCP and Quicktime are ODD.

Canon HV20, 24P, HDV, CMOS sensor...
First, I do hope and pray that the FCP dudes are making this work native at HDV 24p -- great!
But until then, there's a workflow (see below) and a real oddity I can't figure out, and if anyone has any thoughts about it that would be great.
Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
Can anyone explain the FCP capture size of 1888 x 1062?
Anyhow, here is some workflow success that I had.
Capturing in Final Cut Pro using the HDV 1080/60i setting with HDV firewire basic NDF. But 60i is evil. So that's not enough. Got to get it to 24P,since that allows 20% more bandwidth, space, faster renders, and DVD players can play it.
Transcoding to a regular editing codec before converting to 24P is required. I found that MPEG Streamclip would create a wierd, jagged edges on small moving figures with high contrast, no matter what the settings, so I refuse to use it to export the footage.
So instead, FCP has an additional capture option of "Apple Intermediate Codec" or something like that, which transcribes it on the fly to AIC. I always stayed away from AIC like the plague, but they must have spent some time with it because it's nearly identical to the HDV original.
Next, open up in Quicktime Player, and start the clip on that second P frame. Sounds odd, I know. Goto the first interlaced frame, and back up two frames. Mark the "I", and then move that Out marker to the end, and then Trim the clip to the selection. Do that with all the clips, and then you can batch 24P them all.
If you don't want to find that one frame each time, here are the other settings:
First, open up the clip inside cinema tools, and then select Rev. Telecine button.
Find out which of these your clip is doing at the very beginning:
p-p-i-i-p - aa
p-i-i-p-p - bb
i-p-p-p-i - bc
p-p-p-i-i - cd
i-i-p-p-p - this is no good. must remove at least one frame from the beginning of source file
i = interlaced frame
p = progressive frame
all settings use the F1-F2, style one, standard upper/lower

Sometimes, the image captured/shown/exported is a lighter picture, and other capture/playing/export methods are darker picture. Example: the captured 60i from Final Cut Pro has a light gamma picture when viewed in Quicktime Player.
But playback in Final Cut Pro appears darker, and rich. But then exporting it out turns it light again, but export out to a MPEG-2 DVD is darker again? ODD.
This is known. This happens with ANY footage you look at in FCP and QT player. QT lightens the gamma of the footage. Why? Something to do with adjusting the image for computer monitors.
Shane

550d 24p workflow

Can someone point me to an article that clearly illustrates a smooth workflow that moves from shooting 24p footage on a Canon 550D - importing into and editing with FCP6 - then exporting to the web and DVD?
much thanks

You might try these threads...
http://discussions.apple.com/search.jspa?threadID=&q=%22canon+550d%22&objID=f939 &dateRange=last90days&userID=&numResults=15&rankBy=10001
K

1080 24p workflow

I am using the Canon T2i and shooting in 1080 24p (23.98). I am transcoding in moegstreamclip to ProRes 422 and leaving the frame rate blank. I am assuming that when I use the FCP Video settings of ProRes 422 1920x1080 24p it is going to work with my 23.98 footage. Would this be correct?
Thanks

Your workflow is correct, but there's no Easy Setup for this. Just import the files into FCP.
When you drag the first clip into the Sequence, you will be asked if you want the Sequence Settings to match the footage. Choose Yes and you're good to go.

What is the workflow from FCP to Compressor to preserve 24p frame rate?

I just exported my 108-minute project from FCP to Compressor (v3.0.3). I used the MPEG-2 "setting" in Compressor. My end result was a Compressor file whose frame rate is at 29.97. When I import this new compressed file into DVD Studio Pro, the DVD project defaults to 29.97.
I'm a little unsure of how this works. I have an FCP project set at XDCAM EX 1080p24. I'd like to preserve 24 frames per second for a "film" look in the final product, which right now is ultimately a burning of a DVD using DVD Studio Pro.
Should I be using a different setting in Compressor to achieve 24 frames per second? Am I missing a switch to toggle in Compressor? Or FCP? Or DVD Studio Pro? Or... is my final DVD product, which is listed at 29.97, actually preserving the 24 frames and I'm just seeing things incorrectly? (It looks video-ish.)
thanks,
Shanked

Hi Jerry,
To respond to your info request: my "settings" indicate my Editing Timebase is 23.98.
Moreover...
Editing Timebase: 23.98
1920x1080 HDTV 1080i 16:9
Pixel Aspect Ratio: Square
XDCAM EX 1080p24 VBR 35Mb/s
Quality: 100%
Audio: 48khz
Audio Depth: 16bit
Indeed, to achieve a film look I undertook the following steps in production and post...
shot 24p
shot with a Letus Adapter and Zeiss lenses
created an appealing depth of field where possible
avoided various "videofying" shots, like fast pans and so forth
crushed the blacks in color correction
used Nattress and adjusted the S curves in certain areas
I'm just wondering if I missed a step somewhere when it came down to designating the frame rate in Apple Compressor. When I saw the 29.97 frame rate designation in DVD Studio Pro, it surprised me. And then watching my movie on DVD (which is always a slightly difficult experience) I was really feeling like I was seeing an undesirable crisp video-ish feel that I hadn't seen before outputing to DVD.
obliged for the help,
Shanked

Film workflow with 24p footage: nightmare

Hoping someone can give advice on a disaster i'm experience as I cut a film I'm working on, the sequel to this-
http://www.youtube.com/watch?v=GpuEMSH6zB4
I shot the film in straight-up 24p. When capturing the footage at 24p, we experience a quality loss. At 29.97, there is no quality loss. This makes no sense.
Also, when I get my 24p footage, captured at 29.97, into a 29.97 timeline, and then resder it out at 29.97, there is a quality loss.
Also, my ability to have moving video not only in the FCP viewer window, but also through the camera out to a TV, comes and goes. It will freeze or unfreeze depending on some thing having to do i think with the framerate of either the clip or the sequence.
It's blowing my mind. I did not experience this problem on the last flick, and I shot it the same way. Is my FCP damaged? Is there a tutorial out there to guide through this problem, or have any of you experienced it?
Any info would be greatly appreciated.

24P runs at 29.97. 24PA is what you shoot if you want to work at 23.98. If you shot 24P, then you work at 29.97.
You capture as normal 29.97 DV footage, edit at 29.97, output at 29.97. You use no pulldown.
Shane

What is the Definative answer to JVC HDV 24p compatibility with FCP 5.1

I spoke with JVC yesterday and they claim that the 24p HDV codec is now supported with FCP. I am shooting a PBS piece in two weeks and wonder if it is safe to shoot in 24p HDV with the JVC HD100u. Is there a current state of the craft answer?
Dual G4 Mac OS X (10.3.7) FYI we are getting new G5 for this project

http://www.studiodaily.com/main/news/prc/6436.html ...quote from this link...
Rob Schoeben, Apple's vice president of Applications Product Marketing. "The JVC GY-HD100U works seamlessly with Final Cut Studio today and future 24p support will give independent filmmakers an even more flexible HD workflow"
The article was written April 24th...note the statement "future 24p support"
You might check David Harbsmeier's response in this thread and the following link from that thread as a possible solution.
http://discussions.apple.com/message.jspa?messageID=2307338#2307338
http://discussions.apple.com/message.jspa?messageID=2307338#2307338
K

1080i/24p to Film Out in Final Cut Pro

A client of ours shot a project with the *Panasonic HVX-200* in 1080i/24p (not 1080i/24pa) and they are asking if they will have a problem with the footage when they output to film. They are using *Final Cut Studio 2* on an *8-core Mac Pro*.
I told them to use *Cinema Tools* to reverse telecine the 29.97 footage back to the native 24p and they shouldn't have problems. They said I was wrong and that frames would be lost in the process. (Which I know isn't how 3:2 pull-downs work) They also said that they did this before and the 1080i footage they got from the HVS-200 P2 cards and FS-100's were already in 24p format when transfered. Is there a way that this was possible or am I missing something here?
Thanks!

You are right, they are wrong, very, very, very wrong. I'm going to copy and paste from another thread I just answered about this same issue:
I am the author of the FS-100 DVD guide, work with Focus Enhancements closely, have many consulting clients using this system, and have been using the HVX200/FS-100/FCP system since the HVX200 shipped, and a cert'd trainer.
As for FCP, here's the workflow. To start, make sure your HVX is set to 1080i/24PA. If it is set to 1080i/24P, you won't get 24p, you'll get 60i with the 24P effect. Just like on the DVX100. 24P results in a native 60i with the 24P effect, as 24PA has metadata that allows it to become progressive and 24P native.
In FCP, bring in your footage with the Log & Transfer window, assuming you're on FCP 6. Any pre-6 version was super buggy with P2 data. Make sure the "remove advanced pulldown" is selected and import your footage. Ignore the "Compressor" that is referred to in the clips info (which is all the metadata), it will not say 1080p24, it only refers to the compression engine handling the footage, not the actual compression of the clip.
In your project, delete any Sequences you have, in the FCP menu go to Easy Setup, and choose "DVCPRO HD - 1080pA24". Create a new Sequence and you're good to go. Simple as that.
If you go to look at "Item Properties" for these clips, look at the "Vid Rate" field, it will be 24p. The "Compressor" field refers to an engine and has nothing to do with the actual format of the clip, ignore it. The 1080p30 you see as the "Compressor" simply means that the QuickTime 1080p30 engine is being used, and is perfectly capable of driving native 1080p24 footage.
The lines you're seeing on 1080p24 are interlace lines, and are normal, as 1080p24 is, again, 60i with the 24p "effect". You have to record in, and edit in 1080pA24. There's a big difference.

Which? CS3 or Elements for HV20 24p work?

Hello:
I am an ELements user and I was made an offer to upgrade to Pro CS3 for $299. Will this upgrade buy me anything?
I have a Canon HV20 and the big pain is the 24p workflow. Does Pro CS3 offer any improvement over pulldown? I can see various 24p related options in Elments (grayed out and disabled of course) so it leads me to think that maybe working with this footage is easier.
Advice needed!
peace|dewde

> I have a Canon HV20 and the big pain is the 24p workflow.
Whatever you decide, keep in mind that HDV is a delivery format. Editing is
often easier when editing in a (drum roll please) editing format.
Best,
Christopher

24p(A) SD workflow?

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