24p and 30p?

Okay so lets say I am shooting with my Sony HVR-Z7U in 30p, then decide to change it to 24p or 60i. When I go into Final Cut Pro how should I import it as one video but have FCP recognize the individual frame rates of the video files? I haven't bought the Z7 yet, but I am wondering this because I have an XL2 and when I import the tape, it imports the tape as one video clip. When I capture from the Z7 will it do this or have a new clip every time I hit the record button, like it does with AVCHD camcorders. Please help me!

I think this should answer your question:
http://discussions.apple.com/message.jspa?messageID=8879873#8879873

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Panasonic DVX100a 24p vs 30p in FCP

Hi, I am renting 3 Panasonic DVX100s to video a ballet performance in April. I rented on this weekend to use so I can learn about it.
I don't see any difference between 24p and 30p. Is there any difference in FCP?
Would there be any significant difference between the two when shooting a ballet?
Thank you for any advice.
Brock Fisher
San Diego

Keep in mind, 24p on the 100 is one thing... 24p on a sequence is something else. 24p does NOT mean 24 frames per second when shooting with the dvx. 24pA does (with added step).
I guess my thought would be to test it out at a rehearsal and see what you really want.
Do you want Franco Zeffirelli or do you want the irreverent Peter Sellers (the director, not the actor).
Make sure you really understand what that camera's choices are and how you can use them to your advantage.
CaptM

24p vs 30p for a documentary

Hi all. So I'm dipping my toe into the documentary film pool and I need to purchase a better camera. I have narrowed it down to the Panisonic AG-DVX100* or Panasonic AG-DVC30. The DVC30 is a hair cheaper but it doesn't have 24p. Two questions.
-How noticeable is the difference between 24p and 30p?
and
-Can FCE actually handle 24p?
I've been searching the discussion board and I'm just a little confused on the matter. I'm sure one of you with some experience could clear it up for me. I want this first film to look good but it doesn't have to be immaculate. From what I understand, FCE can't handle 24p but it can handle 30p (29.97). Am I correct? This will help me in my decision process between the two cameras. Has anyone had experience with the AG-DVC30? I've heard nothing but rave reviews of the DVX100. Thanks in advance.
MacBook Pro 1.83 ghz 2gb Mac OS X (10.4.10)

Last weekend I rented a Panasonic AG-DVX100B. I chose the F5 preset for 24p (not advanced), cine-like, etc.
When I imported it into FCE 3.5 I got 30-interlaced.
I tried re-importing into a fresh, new project in FCE but FCE still shows the imported videos as 30-interlaced. I've double-checked the camera settings and it's definitely recording 24p.
Any idea what might have gone wrong?
TIA,
--Richard
G4/867 Tower Mac OS X (10.4.10)

Compressor, 24p, and 2-pass acting really weird

I am having a heck of a time using Compressor (1.2.1) with 24p footage and 2-pass. I encode it, then DVDSP gives me a "bit rate too high" error. To make a long story short, if I go into Finder and preview the MPEG movie, at the end the last part repeats. Also if I scroll through the clip in DVDSP, it does the same thing. The lengh reflects the extra data. It doesn't happen if I do 1-pass, it seems to be tied to 24p and 2-pass encoding. Some clips work fine; it seems to be mostly consistent with reference movies (as opposed to exporting self-contained), and I have just been exporting self-contained movies but now it seems that is not giving me consistent success.
Has anyone else experienced this problem? I re-installed FCP and Compressor to no avail.
iMac G5 Mac OS X (10.4.6) FCP HD 4, DVDSP 2
iMac G5

I think I discovered what is happening........ yikes......
Ok, I was doing re-compression of movies that I had already done. So I thought I was overwriting the files, right? Well, I had one clip that changed dramatically, and at the end of the clip it had a hint of the end of the previous version. Then it hit me, it's not deleting the old file, it's just writing over the old file - but anything that's left stays there. That has to be what it is...

24p and Final Cut

If you've shot in 24p and then want to ingest via the Canon GL2 because the original camera is not available-- is that possible as long as you adjust your settings within FCP?

It doesn't matter what sort of camera you use to
capture, as long as it is miniDV.
let's not go this far. most minidv devices i would say it is safe to capture 24p and leave all the data intact. i own a jvc vtr that was designed and made before the dvx100 was most likely even thought of. this tape machine will not transfer pulldown flag data. it does matter what sort of device one uses.

60p and 30p in same sequence

I have video recorded in 60p and 30p (both are HD videos, they only differ in frame rate). I don't have the 30p videos on my PC right now, but If I create a 30p sequence and put both types of videos in it, would there be any problems with playback or any compatibility issues? Thanks!

Using 60p in a 30p sequence will force every other frame to be dropped; frame blending might mitigate this somewhat. Using 30p in a 60p sequence will force every frame to be duplicated once; this is visually no different than playing back a 30p stream.
You'll have to decide which you like better.

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

Differences between SF 300-24P and SF 300-24MP??

Hello all,
First post here, very excited!
On to my question as I cannot seem to find specifics on this.
Besides the MP having support for PoE+, does the 24P have a full 24-port PoE budget or only 12 ports at a time?
What other differences between the two.
I currently have 10 APs plugged into a SF 300-24P and want to add 10 more. PoE consumption is around 3500mW for each AP.
Thanks,
Pasquale

Hi and welcome to the forum.
According to the data sheet, all 24 ports support POE.
have a look at table-1 in this link (under power over Ethernet) section:
http://www.cisco.com/en/US/prod/collateral/switches/ps5718/ps10898/data_sheet_c78-610061.html
Also, here is a link to compare models:
http://www.cisco.com/cisco/web/solutions/small_business/products/routers_switches/300_series_switches/index.html-tab-Models
HTH

Panasonic DVX100 (original) should I shoot in 24p or 30p?

Hey,
Working on my first feature and will be editing in Final Cut Express HD 3.5. Want our dailies to look progressive scan and filmic should I shoot and edit in 30p?
Chris

I know for the most part you want progressive
That's not necessarily true. For Blu-ray or DVD delivery, 30i would be the better option over 30p or 60p, as 30i can go onto disk "as-is", without any frame rate conversions.
I think the choice on this is purely aesthetic. Do you want the look of film (24p) or the look of video (30i)?
Personally, I shoot everything at 24 fps these days.

24p in 30p timeline

I recently purchased a Canon 7D and am trying to edit with iMovie 09. I would love to get Final Cut Pro but at the moment I just can't afford it. This is just a hobby of mine with no real plans of changing that in the near future. My question is, since iMovie 09 does not support 24p, would it be ok to shoot 24p, edit it in iMovie with a 30p AIC timeline? Will this keep the same look of 24p? I guess this is a 3:2 pulldown when you import 24p footage? Will the sync be ok?
Thanks.

There is an exact procedure you must follow to input 1080p24 and export 1080p24. Google "The Ins and Outs of iMovie 09." you cant record 1080p24 with toast for BD. but you can export to h264 and play on a WDTV. Thats whar i do wit 1080p24 from my Pana AVCHD camcorder.

24p to 30p SOUND IN SYNC?

Is there a way to convert 30p footage to 24p while keeping the sound in sync and not slowed down.
When I conver the 30p footage to 24p the whole thing is slowed down, including the sound.
How can I resolve this issue?
Thanks.

HannahMatthau wrote:
… ... basically I want to cut out the frozen images and move the sound that's on it to the bit where it's unfrozen... can't be that hard...
and yeah yeah I will
I still have a problem, understanding what you like to achive:
this is your (? no, not really - my comment about © was meant seriously) bad take:
I seperated the audio, I made a split at the beginning of bad scene
I searched for good - which seems the saxophone sequence ...
splitted the audio, "Robby!" as synch-point (a+v)
shifted audio to be in synch with following sequence
=> a 'hole'!
as you can see, the audio and video 'drifts' - video longer than the purple bar.
no you want …wot?
to 'stretch' audio fitting the bad video'?
plus pitching voices?
possible, but no trivia task, Dear ...

24p 25p 30p 50p : what's recommended for HD in a PAL environement

While i'm choosing a new digicam that can shoot movies (1920x1080), I wondering what's the frame rate to prefer for editing with FCS to produce Bluray
in a "PAL world".
I'm very interested in a Nikon P510 with its huge zoom but it record at 30p.
Instead of the NiKon a friend suggested the Sony HX200 that shots 50p and 24p...
In other world i would like to have an advice if:
24p it's ok to edit in FCP
30p it's ok to edit in FCP and it's ok (i doubt) in the PAL environement
I'm quite experienced in PAL SD (miniDV --> DVD ) workflow but very confused on the HD one...
Thanks

In a PAL environment you can use either 25p or 50i .... both are the same framerate but one is progressive (p) and one is interlaced. Both can be edited in FCP
24p is often used to give footage the "film look". It is also supported in the Blu-Ray standards and in FCP.
50p/60p are non-standard framerates that are not always supported by NLEs. More often than not they are used to achieve smooth slow motion in post (e.g. 60p to 24p conforming). To my knowledge FCP can handle 50/60p only with the help of third-party capture card. 50/69p is also not supported on Blu-Ray devices.

HVX200 and 30p

Has anyone shot 720pa/ 30p on the HVX? I have a client that wants to shoot video for the web and asked if this was a viable alternative to 24p? Any experiences would be helpful. Thanks! Bob

HVX shoots 1080/24pa, but not 720/30pa if that is what you mean.
You can shoot 720p/60p, 720/24p (over 60p), 720/30p (over 60p), 720/24pN native, 720/30pN native -- but not 30pa.
24pN or 24p over 60 gives you the film look.

P2 1080i/24p and CS3

Started a DVCPRO HD 1080i/24p project. Imported P2 mxf files shot in 1080i/24p. Timeline needs rendering when mxf is placed on timeline.
Why does this happen? Every other native P2 project for DVCPRO HD does not require rendering. ex, 720/60 etc.
CS4 does not behave this way in the trial I downloaded.

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.
On the 1080i sequence the 24p requires rendering while the 24pa does not. Same thing for the DVCPro 50, the 24p requires rendering while the 24pa does not. None of the 720 clips required rendering and neither of those were shot in 24p advance.
I am very interested to find out why this is happening.

Canon Vixia HF100 24p and Final Cut Pro 7

Hello all,
Just got the HF100 and Final Cut Pro 7. New to both. My plan is to shoot everything at 1920x1080 @24p. I've heard though, that the 24p on this camera has 3/2 inserted to make it 60i. My goal is to remove the 3/2 and do all editing and fx at 24p so I can have a universal master that I can then convert to various formats (Bu-Ray, DVD, web, etc., but will not ever go to tape). What is a good workflow/settings for this? Also one possible concern is disk space (so multiple codec suggestions would be great), but may be able overcome disk space if necessary. Again, I'm completely new to final cut (I do have some post experience, but am clueless to final cut right now). A long question, I know. Thank you in advance.

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.
I also try to film and edit everything in 24p with my Canon and my recommendation would be to do exactly as suggested in this Apple tutorial and using Compressor:
http://support.apple.com/kb/HT2410
What it essentially teaches you is to (1) log and transfer your Canon 24p wrapped in 60i files, (2) make them "true" 24p in Compressor, and (3) use them back in FCP 7. Once the files have been compressed into 24p you can get rid of the ones you had logged and transferred in their 60i wrappers and use only the resulting 24p files.
Yes, it's an extra step in the process, but it's one efficient way of doing it.
Works for me!

24p and 30p?

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