24p and 29.97 in a 29.97 timeline?

I have an edited film that was shot in 24p non advanced. Half the clips were captured at 29.97fps and the other half were captured at 23.97fps. The edit is complete and my sound mix has been done in protools. When the film is played back some of the clips are jagged like with movement, this I am assuming is because they should have been captured at 29.97. My question is, is there any way to get those 24p clips to 29.97 without screwing up my timeline and throwing the whole sound mix out of synch? When I try recapturing anything fc says I have timecode breaks, even when i start a new project and try to capture. This is a very important project, and I have a feeling I am out of luck.

How were your 24p clips captured?
You'll need to go back into Cinema Tools and add the pulldown back if it was really taken out.
You using a DVX?
CaptM

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Speedorms,
I would like to help determine what is causing this.
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What are you using to edit your video?
What settings are you using to edit the video?
When you refer to SD, are you referring to the card in the camera or Standard Definition video?
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If this is a time sensitive-matter, additional support options are available at Contact Us.
Did this answer your question? Please click the Accept as Solution button so that others may find the answer as well.

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I noticed the same issue while running some tests today. I shot 6 x 30 second clips to p2. 1080i 24p, 1080i 24pa, 720p 24p, 702p 24pn, DVCPro 50 480i 24pa, DVCPro 50 480i 24p. I created 3 sequences, one for each of the resolutions.
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ebrunoski,
Welcome to FCP 7 and to Canon AVCHD camcorders. I was in your shoes a couple of weeks ago, as I have a Canon HF11 and FCS 3 myself.
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I did the search and at the moment the forget is only in the
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Combining 16:9, 24p and standard NTSC in FCE

Please forgive the newbie ignorance, but I seem to have gotten myself into a severe predicament with no practical way out. Here's the situation:
In a rush of naive enthusiasm, a desire to NOT indulge my usual tendency toward perfectionistic procrastination paralysis, encouragement by others—including experienced advisors, albeit one with Windows/Avid-only experience and the other a successful, working director/screenplay writer with a minimal understanding of technical issues—and finally, getting snowed by glowing sales brochures with hidden fine print that glossed over critical compatibility issues, I borrowed a s-load of money and launched my documentary by jumping out of a plane with the following parachute:
1) Essential outdoor footage (rushed to take advantage of good summer weather) shot at 24p in true 16:9 on a borrowed Canon XL2.
2) Equally essential indoor footage (and pretty much all remaining future footage) shot in standard NTSC (29.97i? 4:3) on my Canon GL2.
3) An aging dual 500 G4 that's been expensively brought up to minimal Final Cut Express standards through a series of hundred bucks here, several hundred bucks there steps. (I probably could've bought a new Mac for what I've spent on techno-duct tape for the old!)
4) A desperate hope that I might find some way to get 1-3 to work together before I hit a rapidly enlarging terra firma!
Lest you think I'm totally nuts, let me say in my defense that I have been experimenting with post-production procedures along the way—first with iMovie until it became obvious it wouldn't do the effects I wanted and now with FCE, which will handle the minimal fancy-schmancy stuff my doc needs. But now based on my fitfully improving understanding of the technical constraints, I believe I've been misled by "false" iMovie and FCE WYSIWYG images that implied I could meld my XL2 and GL2 footage without problem.
To be more specific, I was able to successfully capture the XL2 footage in iMovie through my GL2, or at least I thought I was. I assumed the data, being digital and all, would capture correctly regardless of camera. When I could see it squished horizontally in 4:3 on my monitor, I assumed it had transferred correctly and could then be manipulated however I wanted. After I got FCE, I seemed to be able to capture the two kinds of footage and even put them together (of course, with corresponding letter- and pillar-boxing), but am now thinking I've got a mess underneath what I see on screen.
All of which is to ask, Is there any practical way to solve my problem? My piggy bank is down to its last few pennies, and short of winning the lottery, my immediate possibility of getting more cash is nil. My quixotic goal is to turn this mess into a real (24p, 16:9) movie. (If I can get them combined, I plan to use the discrepancy in quality between the two kinds of footage as an "intentional" effect).
Three other questions: After reading another discussion thread, I got JES Deinterlacer to see if it could successfully convert my NTSC to widescreen 24p. The small clip I used was glacially slow to convert, which is frustrating but could be an acceptable workaround except that it appears the result is severely degraded (which makes sense since the file size is 10% of the original). My original thought was to crop the top and bottom of the 4:3 to fit it in with the 16:9 (instead of stretch it) and have the resulting increasing contrast in resolution be part of the inside/outside "effect." Can JES, or something else, solve my conversion problem? If so, will FCE be able to handle the result?
Second thing is one of my original XL2 tapes was lost so I took my iMovie version and put it back on tape through my GL2. Has this been degraded from the original? What is happening to the 24p, 16:9 data as it goes back and forth from camera to hard drive through iMovie and FCE.
Third is I found several threads that warn specifically against capturing from a Canon camera to a firewire hard drive. I seem to have had no problem so far, but is there something corrupt underneath that I can't see?
Hoping this long post is not too annoying (maybe my mistakes can help others avoid similar ones?) and that there's a miracle out there that'll keep me from crashing and burning in a fireball
Many thanks, Chris
G4 Dual 500 Mac OS X (10.4.8)

"There is not quality degradation for digital content upon printing to tape or copy, even from a iMovie version. DV is a already compressed digital material, edited in the compressed format, so you can go far beyond 20 generations of copy without significant degradation.
"It's not exactly the same thing with HDV (because there is a conversion by Apple Intermediate Codec at each capture/print process)."
Thanks, Michel. I guess I'm still confused about the gist of the capture process, which seems to be what led me into this mess in the first place. I understand that the raw data is digital and that it won't degrade if it's copied, which is what I thought capturing was in essence. But if DV capture is standardized, what—if it's not some kind of codec-translation filter—makes the resulting media files different depending upon which application (and camera?) is used. (I know cameras can record differently—thus my XL2/GL2 discrepancy—but do they also behave differently in the capture process?)
The other explanation I can think of for the differences in capturing between iMovie, FCE, and FCP is that Apple has simply restricted the aspect ratios and frame rates each app handles as part of the justification for differing prices. I had thought they could each accept the same raw footage but what they did with it afterwards was increasingly sophisticated and therefore costly.
Live and spend lots of money to learn!

Capturing 24p, and have to render every clip.

Hi all. Thanks for your time. After reading all the 24p articles in here, I thought I had it straight: I shot 24p normal (16:9) on an xl2, and captured it on FCP 4.5 using the "DV NTSC 48 kHz Anamorphic" setting for Capture as well as for the Sequence Preset. However, I still have to render (red line) ever time I bring a clip into the timeline! What am I doing wrong?? Please someone help, and thank you for your time.

You shooting in PAL land? You have a PAL camera????
Stating the obvious, but thought I'd get that out of the way...
Do us a favor... find the item properties window for the CAPTURED clips and read it down for us.
Then... Apple-Zero the sequence you've created and read down THOSE settings.
Thanks,
CaptM

24p and 29.97 in a 29.97 timeline?

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