24p & broadcast???

I shot footage at 24p Advanced with the DVX100b and
am editing in a 23.98 timeline. What's the best way
to convert my final project to a digi-beta tape?
Should I record it straight from the timeline? If so,
will the 23.98 footage play back correctly on NTSC or
do I need to take an extra step before dubbing my
project to digibeta? Or am I completely off and need
to do something completely different? Thanks!
I think your best bet would be to basically print to tape, playing it back at 23.98, and allow the hardware devices to make the conversion. Otherwise, you'll probably have to deal with misplaced frames, etc.
Just today I was frustrated trying to export my 24P HDV timeline to burn an SD DVD. When I exported to a QT Movie at 30fps, it had major issues (black frames at transitions, synch issues, etc.) So, what I eventually did, is just exported my timeline at DV NTSC 24fps, and basically let the DVD Player and TV handle the conversion to 30fps. Having FCP either 1. Export to 30fps, or 2. copy/paste clips into a 30fps timeline will cause missing frames, etc.

Similar Messages

Frame rate conversion problem

I need to edit a Keynote presentation into some footage of a workshop. The workshop footage is h.264 from a Sanyo camcorder that I've transcoded into Apple Intermediate Codec at 29.97fps. The Keynote presentation is a ProfCast recording made during the workshop, so the two should be in sync. I'd like to combine the two into a multiclip and switch from one to the other. But the Profcast recording is 30fps and FCP won't let me make a multiclip because the clips have a different frame rate. I've tried to export the Profcast to 29.97 in QTP but it always comes out as 30fps,
How can I translate the Profcast footage from 30fps to 29.97?
Ralph

You have mentioned DVD and now 24p Broadcast.
"I trust this more than letting FCP's rendering engine do the frame rate conversion."
Somewhere this will happen.
I don't know of any broadcasting in 24p?
If someone knows please set me straight. If you're outputting for broadcast it most likely will be (HD Cam) 60i or 50i.
I do understand a lighter load for Compressor (20%) and that is logical.
As far I know 24p is just for a film out.
I do hope you find the answer to your questions and report back as to what works for you and how you delivered this project.
Good Luck
Z1

24p DVX footage Lower Even field dominance interlacing?

I've captured DVX 24p (not 24pA) footage. When I check Item properties for a clip FCP shows Lower (Even) under Field Dominance? Shouldn't it be Progressive or is it because 24p was captured using a 29.97 timeline in FCP as opposed to 24pA.
I am seeing horizontal lines during motion when played back on DVD? Is that interlacing? Where did I go wrong.

Look, you really need to wrap your head around 24p, 30p, 24pA and 30i.
Interlace is not an ugly issue. It is a benefit. Interlacing normal on broadcast television. Your TV scans down and back up for each frame... alternating lines. When you shoot 24p on the DVX it puts it to tape where for every 3 frames of progressive it combines FOUR frames to give you TWO additional combined (interlaced) frames. So.. there are 6 sets of 5 frames per 1 second giving you 30 frames per second. If you take those 3 progressive frames by themselves 3x6 is 24 frames per second.
You OBVIOUSLY want to final out to 29.97 or 30 fps so you'll need those extra 2x6 frames to get you to 30!! If you wanted to final out to 29.97 AND you wanted progressive frames for EVERY frame you should have shot 30p mode.
Now... when are they ugly? When you are standing still on a frame. When are they unnecessary? When you plan to show them on a computer or progressive monitor. Remember, even when shooting progressive and playing it on a TV you will STILL have the TV doing interlaced scans... the only difference is the down scan is taken from the same point in time as the up scan.
Plus... you don't capture TO a sequence... you capture the video and edit it IN a sequence. You can still capture the footage in 24p at 29.97 and remove those 2x6 extra frames and edit in a 23.98 sequence.
Do some reading. It will only help.
CaptM

24p to 29.97i in Premiere, Media Encoder or After Effects?

Sorry to bring up a much discussed topic, but as I looked on the web and in the Adobe forums I got sort of lost in the tangle of discussion about how to best take a 24p sequence in Premiere and convert it to 29.97i for broadcast. I feel like this is something that Premiere might be able to do? Or maybe Adobe Media Encoder? I generally see from other forums and posts that this is done in After Effects, an app I have never even opened. So if the answer is that I need to use AE, then I'm hoping for some detailed guidance or perhaps a tutorial video? Though as I say that I know that certainly sounds rather demanding
Any comments or assistance would be greatly appreciated!
Thanks much,
Bradley

Hi,
I have been working on a video for awhile now and I've recently noticed that my .flv export format has been removed from my choice of encoders.
Check this for more information: removal of FLV and F4V export features from Adobe Media Encoder, After Effects, and Premiere Pro | After Effects regio…
But now I can't encode from Premiere, Media Encoder, or After Effects.
What exactly happens when you try to export?
Thanks,
Rameez

30p fps to 24p fps when no interlace is involved

Hello: I've shot my clip in 720p60, then uncompressed it, edited it in FCP in a 29.97fps timeline sequence, export (using QuickTime Conversion) as H.264 at 29.97fps and the result is very smooth. When I export as H.264 at 24fps the result has a slightly jerky motion (possibly because every 5th frame has been deleted ???). What is the best method to convert from 30p fps to 24p fps (no interlace is involved) ? Thank-You, MLR

Broadcast stations won't EVER want to air things in 24 fps. Here in America, when they get 24fps material they do a process called telecine and ADD (or Combine) frames to get it to 30 anyway.
Leave it at 30.
Now, if you edited in 24 with native 24 material that would be a different story. You could add the telecine cadence onto your video and make it just right with a 'film-look'.
Here's what I suggest you do...
Call up MTV and ask them to send you their BROADCAST SPECS (often called a red book... or white book). They'll be happy to point you in the direction of it.
Also do it for PBS and maybe Discovery Channel.
Read EVERY word. Will be an education you couldn't EVER pay for. Might also open your eyes to how far over your head you might be.
Good luck...
CaptM

10 bit 1080/24P HD, downconvert in software?

I have 10 bit HD (from D5) 1080/24P material on a firewire drive for editing on a MetaSan dual 2.5 (8G RAM). Running FCP 5.02 with 10.4. It was encoded into a Blackmagic codec quicktime.
Material is supplied from telecine on FW drive (only have SD Kona card on system.)
I can't view material clearly so must downconvert. Can I downrez to DVCPRO-HD in software using Compressor?
I'm in over my head right now. My last project was DVCPROHD and it went fast and well. This 10 bit work flow is sending out warning lights.
This is for a feature trailer, need to show to investors in boardroom on HD Plasma or DLP.
thanks ,
Caleb
Good Film Maker, Bad workflow artist

Here's a test for you and them to run.
Take a series of respresentative clips. Wide gamut, fast action, brilliant colors, b&w, and so on.
Bring each clip into Compressor and generate a ProRes4444, ProResHQ, ProRes standard and ProResLT version.
Import all the clips into FCP and put the original 10 bit clip on the timeline then superimpose each version of the ProRes conversion using the Difference Matte. What do you see?
Now put each clip through the scopes and compare. What do you see?
Now play each on a broadcast reference monitor. What do you see?
I'd be willing to bet std ProRes will be fine. The bigger question is how much support Apple will be offering for ProRes as a legacy codec in 10-15 years.
Please report back.
x

24p -- 29.97i in AE

Can After Effects convert a 1080p23.976 frame rate to 29.97p or 60i? I want to convert the 1080p23.976 for broadcast. Can AE introduce the pulldown to do this? Please note that I'm using CS4.

When using his converter to (try to) go from 23.976p to 29.92p, the video ends up being 24 seconds long instead of 30. I'm confused...
Haven't used the convertor but it makes sense that if you change interpretation the length of the footage will change.
If you drop a 24FPS comp in a 29 fps comp the length in seconds won't change, but you'll end up with some frame doubling.
The best way to change 24fps footage to 29.97 is to render the footage choosing field render and and some cadence of 3:2 pulldown in the Render Settings. Just make sure that you've got the field order correct for your intended output.
Edit:
Ok, I took a look at the tutorial and the efx preset. I'm not sure I'd ever have a use for it because it's a workflow that I never have used. I'm also not exactly sure what you're trying to accomplish. I can tell, though, by your post, that you're not following the procedure correctly. You've confused the target frame rate and the source frame rate and the interpretation. All the preset is doing is adjusting the speed of your re-interpreted footage so that the time is correct. His expression is sound. If you have your original footage that's 23.976 and you're going to 29.97 then you need to interpret the footage as 29.97, which is going to make it play faster so that it ends sooner. Using the fxx preset you can then speed it up by placing the original frame rate 23.976 in the Actual Source frame rate value, setting the target frame rate of 29.97 in the Target frame rate slider which should give you a 79.98 value in the Frame Rate Warp value (it's pink).
This will slow down the clip so that it takes 30 seconds to playback.
This isn't necessary at all to produce an interlaced output for broadcast from 24P footage. If your footage is actually 24P, then just put it in a 24P comp (23.076) then open up the Render Settings panel and Turn On field rendering and add any of the 3:2 pulldown cadences you want. You're done and it will look exactly like film transferred to tape, and you won't be saddled with the long render times that you'll get using the Timewarp (Renamed FrameRateWarp by Mr Kramer). I'm not sure that you would see any difference in the output. I'd have to run some motion artifact tests to find out.
You could accomplish the same thing by simply dragging the speed slider in TimeWarp to the appropriate value to make your footage the correct length. All the effect preset is doing is making the calculation for you with an expression.
Edit:
One more thing: You mentioned in an earlier reply that some of the interlaced fields were progressive and some were interlaced. That's the correct answer. Your original 24P footage is converted to 2 fields from frame 1, they are identical to so these two fields (or first frame) are progressive, then 2 fields from frame 2 (which are also identical, therefore progressive) then one field from frame 2 and one field frame 3 (which are interlaced because each field is a different moment in time) which gives you your weird interlacing artifacts. That's what film transferred to tape looks like if you step through it one frame (two fields at a time). I never liked the look so back in the day when I shot a lot of TV commercials on 35mm film I ran the camera at 29.97 fps so we didn't have to transfer with 3:2 pulldown. In those days, the late 70's through the mid 90's, most major advertising agencies that I shot for specified that we would run the camera at 29.97 to avoid the 3:2 pulldown motion artifacts. Then for a while, when we first started experimenting with trying to make video look more like film, folks were intentionally adding 3:2 pulldown to their projects. Now that there are true progressive displays and DVD and BluRay players that will actually playback progressive footage, there is little reason to worry about the 3:2 pulldown problem unless you're delivering to someone that only has the capability of broadcasting or playing back 29.97 NTSC footage.
BTW, this problem and all this monkeying around only exists in countries where NTSC was the broadcast standard. No similar problem exists in PAL land.

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

Getting rid of duplicate frames in 24p Normal

Hi All,
I've read a ton of posts and am still having an annoying problem. I have footage that was shot in 24P (normal) and am capturing it into FCP 6.04 using a DVX100. As per other's recommendations in here, I'm trying to capture with the standard DV NTSC preset which seems okay. Then I drop the clips into a DV NTSC sequence (makes sense, right?) but I'm getting a duplicate frame every fifth frame which is obviously a problem.
What am I doing wrong? I'm definitely missing something here. The final project will be output for tv broadcast, so I thought it would be best to stay in the 29.97 realm since that's what I have to putput at and 24p normal isn't actually true 23.98.
From everything I've read this should be a simple no brainer, but I keep getting the duplicate frame. This is really holding me up, so any help would be appreciated. thanks!
Scott

There is a LOT of conflicting information on your blog post.
Look. Think of it this way and don't think about 'freeze' frames...
When in 24p mode on any camera going to mini dv tape you will ALWAYS have a cadence added.
SO -- you must (MUST!!!!) always capture 29.97.
That's really all you need to know. DON'T EVER capture at 24 or 23.98 because that isn't what is on the tape. You'll only confuse the capturing software and get less than desirable results.
SOMETIMES when capturing 24p mode shot material FCP will let you remove the cadence on the fly when capturing. DEPENDING on what cadence the camera put on the footage as it was sending it to the tape!!!
2.3 or 3.2 cadence, sometimes called simple cadence is the same cadence used by broadcast TV stations to telecine FILM to VIDEO for broadcast. It is pleasing to the eye and has less of a jittery feel then the advanced cadences in the next part... BUT this is HARDER for FCP users to remove and requires Cinema Tools to remove it or reverse-telecine it back to 24fps.
2.3.3.2 cadence sometimes called ADVANCED cadence is actually simpler for FCP to recognize and therefore remove. The cadence adds one extra combined frame for every 4 frames... where 6 sets of 4 = 24 one frame extra per set gives 6 sets of 5 = 30!!! FCP just goes thru and ignores those extra frames. In fact, if you look at your TC base in the browser you'll see it is STILL 30, yet the Frame Rate is 24. Odd? Nope. Tab thru the frames and look at the time code. You'll see a skip.
SO... if indeed you shot in whatever camera in a 24 mode AND it went to miniDV tape (and yes, some HD driven cameras and SD driven cameras) it will still be some sort of 30fsp (or 29.97).
The key is to find some 'action' footage and watch it on an external monitor, or in FCP with the canvas set to 100%, and see which of those frames are 'combined' frames. 3.2 cadence will have 2 combined frames and 2.3.3.2 will have only 1 combined frame.
Hope this helps a bit. Don't confuse yourself. Just figure out which cadence was added and use the appropriate tool to remove the cadence AFTER you've captured it at 29.97.
OH... btw...
24p (simple cadence) they say is for creating a 'film look' while maintaining the 29.97 NTSC standards. I say hogwash. When you start editing it you'll cut all across the cadence creating a MESS of interlaced and progressive frames that will end up playing tricks on your eyes.
If you want the film look... just shoot everything in ADVANCED cadence mode or 24pA. Edit in 24fps... Then, you can easily add the cadence back in one step and have it nice and even across the entire sequence - OR keep it in 24fps for film, web or DVD.
CaptM

24P or not to P, that is the question...

I was hoping someone could clarify the significant importance of buying a 24P camera in which the footage is going to end up on a NTSC SD DVD. I filmed footage for a film shot with a Canon HV20 in the 24P mode. The footage looks fantastic after you put it through Compressor and get 24fps.
To me this is all irrelevant however, I'll explain. After you shoot on the HV20 it records as 29.97fps. It is not 24fps until you pulldown the remaining frames in Compressor.
Would I have been better off just shooting on the 24P mode at 29.97fps and leaving it this way because IT IS GOING TO END UP BEING 29.97FPS IN iDVD WHEN I CREATE MY SD DVD PROJECT???? I ask this because of the large amount of time it takes in Compressor converting the footage from 29.97fps to 24fps.
I can not see any advantage at all in using 24P unless you are planning transferring to film which is 24fps.
If someone has a different view or I am missing something here could you clarify please? Please keep the explanation simple as I am not a super techie when it comes to these discussions!!
Frustrated, confused, and need of a simple explanation if I am wrong here.
Regards,
Rory
Message was edited by: Rory Mells

No...that is NOT the only advantage. Outputting to DVD is also a serious advantage, as, again, 24fps gets you more storage and better data rates. DVDs you buy with Hollywood movies are all 24fps.
Then there is the storage used to edit the footage on. 1 hour of Prores at 29.97 is about 76GB, and 1 hour of ProRes at 23.98 is 61 GB. Big savings.
Also, there are many formats of broadcast HD delivery that require 23.98 masters. I am required to deliver HDCAM masters at 23.98...sometimes HDCAM SR masters. So it is not only for film...
Shane

Capturing 24p from the HVX-200

I just filmed some footage, with the Panasonic HVX-200. I filmed in 480/24p on a tape. when capturing it in FCP do I choose DV50-NTSC 24p, or DV-NTSC 24p in the easy set up menu? I think its DV50, Im just not 100% sure. IF anyone can help me out I would really appreciate it.
Stephen.....

Yup...pretty sure...
#23 Differences between 24p and 24pA
Shane's Stock Answer #23
Quoting Ken Stone's site found at:
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
24p Normal
When shooting in 24p Normal, the camera is adding normal standard 3:2 pulldown to the video, which results in 24p footage designed to work with any non-linear editing suite and it will play back and look good directly to any NTSC monitor. You can use 24p Normal footage just like normal video from any DV camera, and everything will work fine, but obviously, the footage will have a film look to it. If you’re just going straight back to NTSC video tape, then using 24p Normal is the simplest, easiest workflow. No special treatment of the footage is needed and you really can just edit as normal.
24p Advanced
Before you shoot 24p Advanced, you should fully understand it’s workflow implications. If you watch 24p Advanced footage before you’ve removed it’s pulldown, then it will look a bit jumpy and jerky. This is totally correct, because 24p Advanced is not designed to be viewed as is.
To use 24p Advanced and gain all it’s advantages, you should know that you cannot edit it as is (as this would leave it’s jerky looking pulldown intact), but you must first remove it’s pulldown. Final Cut Pro will do this for you, leaving you with the 24p footage without any of the extra “padding” fields that are added to make it’s frame rate 29.97fps. Now that your footage is 23.98fps, it must be edited on a 23.98fps timeline, and this can cause problems if you, for instance, want to include other footage, B-Roll, or stock footage, that comes from a different source. However, once you have your finished edit at 23.98fps, you can make a 24p DVD, which will allow you to compress your MPEG2 less than if you were making a normal 29.97fps NTSC DVD, and hence attain higher picture quality. Similarly, if you’re making a web movie, you will find it easier to get a higher quality result from 23.98fps media than normal NTSC media. 23.98fps movies are also easier to take out to film that 29.97fps movies.
If you are editing in a 23.98fps timeline, Final Cut Pro will add pulldown on the fly, over Firewire, so that you can see your movie on a normal NTSC monitor. Similarly, it will add pulldown when going back to DV tape. However, this will not work on a non-DV format output, say to Digital Betacam, and slower Macintoshes do not have the power to add 3:2 pulldown in realtime, falling back to lower quality pulldowns which although are not too bad while editing, will not make the final project look as acceptably good on television as a final product.
What that tells me is that 24P just adds a "look" of 24 fps to the footage that resembles that of telecined film, but that you work with normally at 29.97fps. Or, if you want to, you can add a reverse telecine and work at 23.98. Either way.
BUT, with 24PA, the footage looks jittery when played on the tape. So sure, you can work with it and output it to tape, but that tape is useless to anyone OTHER than someone who can capture it and perform a reverse telecine to work with it. It will not work as a Master tape for any viewable purpose: Broadcast TV, projected video from tape, a master tape for dubbing purposes. So, in effect, it is useless as a tape master, and should be avoided.
If you want to have a tape master, shoot and edit 24P at the 29.97 framerate.
Shane

Canon XL2 24p and FCP

Hi,
I've shot a project in 24p, 2:3:3;2 mode on the Canon XL2.
Does anyone have any info on the pros and cons of editing in 24p versus 29.97?
My final output is most likely for broadcast/DVD, but perhaps there will be a film transfer.
Do you lose some of that film "look" of 24p if it's edited in 29.97?
What is the best setting to Capture into FCP? I've had an "issue" with a couple of tapes coming in un-synched, though everything was Captured at the same setting.
Thanks,
Rex
[email protected]
www.rexpix.net

You'd have to recapture I think removing the advanced pulldown removal preset in FCP...However it won't look any different in the end because it has to play back at 29.97 no matter what on a TV (from tape)... Cinema Tools can remove 2323 from 29.97, but not 2332...
The positive side of 24fps video is that the file sizes are smaller than 30 fps video (fewer frames). so in theory, you could make a higher bit rate MPEG-2 file in the end for DVD's if your finished movie is longish... or if you are printing back to film, then 24fps media is really what you want to work with. However... in any case the movie will look the same as 29.97 because that is what you shot actually, with a pulldown added to spread 24 individual frames over the 29.97 that your camera shoots.
Modify the device control setting in the Audio/Video settings to FireWire Basic... it's in the pulldown menu on the first tab of the A/V settings in the FCP menu.
Jerry

24p for the Web... de-interlacing?

Hi all,
I am stumped. I am editing a project in FCP 5.1.2 shot on a DVX-100A in 24p (not advanced). I captured the footage using the Easy Set up option of DV-NTSC.
My problem is a usual one that has been posted often, but rarely clearly solved. I see horizontal line artifacts on any shot with movement in my timeline and when I export to Quicktime. Look at the kid climbing rope in the following captured still (click on the still to enlarge):
http://homepage.mac.com/obidow/deinterlace/PhotoAlbum3.html
The artifacts disappear in two ways: a) when I watch the footage on an NTSC monitor, the artifacts disappear b) I can put an FCP de-interlace filter on the clips and the problem disappears when viewed on the computer.
However, this project is for the Web, not to be viewed on TV or DVD, and I seem to lose a lot of quality with the de-interlace filter (oddly, the de-interlace filter makes it look exactly like a DVD on an NTSC monitor).
My question is this: is there a way to eliminate the artifacts for computer viewing without using a de-interlacing filter?
Secondly, (and less importantly to me right now) why EXACTLY does this happen? I have read a ton about 24p and pulldown and interlacing and Cinema Tools, etc. but I still can't get a handle on it. Some sites say 24p does not need to be de-interlaced, some say it does, some say you need Cinema Tools, some say FCP can do it--- ARRGGGH--I just can't figure it out.
Thanks,
Mike
Thanks,
Mike
I have read a ton about Cinema TOols and pulldowns and
Mac Pro Tower/Powerbook G4 Mac OS X (10.4.8)
Mac Pro Tower/Powerbook G4 Mac OS X (10.4.8)

What is Pulldown?
google reveals these Pulldown explanation pages:
http://www.adamwilt.com/24p/#24pRecording
http://home.aol.com/ajaynejr/pulldown.htm
http://en.wikipedia.org/wiki/24p
http://www.zerocut.com/tech/pulldown.html
http://www.denecke.com/24pinfo.htm
here's a visual representation of 24P with pulldown added to be recorded on a 29.97 tape (this is how all feature films are broadcast on NTSC)
As you can see, you get a BC frame and a CD frame that are made up of fields of differing frames. Thus the artifacts you present in your still.
Patrick

Broadcast quality uncompressed video to Keynote solution???

World,
I would be really grateful if someone would help. I've done a lot of searching and cant find a definitive answer. I am looking to design a solution for generating the best quality video output through Keynote.
I am used to making slide presentations using Powerpoint/Keynote, with video output from an alternate device. My objective is to output highest quality video of around 5-6 minutes.
Most projectors are 1024x768. (Although I understand many projectors now are WXGA at 1280x800).
If I have a budget I use a professional operator and request SPBeta or a DigiSP, Pal player. In most cases however there is no money to spend and so I use a DVD player. In both cases the video is of course 720x576 (Pal).
I have the video source files as uncompressed broadcast quality, captured with various codecs, eg "Blackmagic 10 Bit, Integer (Big Endian)".
What I want to understand is whether I can compress the video files and run it through Keynote in a way that will not compromise the quality.
1. What quality is achievable?
Using a MacbookPro for output, what quality is achievable, when compared to what I am am familiar with from a) DVD and b) broadcast quality player? Assuming the same decent quality XGA projector.
When I first looked at this some years ago, there were some resolution conflicts using slides and video in Powerpoint.
But it seems to me that things have moved on and I should be able to get a comparable quality video image from the Mac, as compared to using a player. Better even (???). Good as DVD?? Good as a broadcast quality player?? Is this correct?
One of the issues that may have some impact (the impact of which I don't fully grasp) is that normally a video projector will require a change of the input "source" setting from "data" to "video" for the different outputs which presumably changes the resolution from 1024x768 to 720x576. Depending on the "source" setting.
Whereas with the solution I am seeking to plan here, I am channelling a 720x576 resolution video (however it may be compressed) into Keynote, which is outputting it at 1024x768 (to match the data/slides output resolution). That sounds really problematic and a quality killer to me. But perhaps Keynote does this well (???). Perhaps there is a conversation tactic that I can adopt to solve any issues.
So, then, which if any compression should I use, what compression format etc? I don't care about cost (give or take a few hundred) or hard disc space. I am looking to design the best solution. Using a MacbookPro as engine. I am not looking for a solution that will work "OK" or look "pretty good". I am looking to design the best solution to get the best output of the video.
But really I suppose I am trying to understand whether it is time to definitively get rid of the DVD player because I should be able to achieve that quality, definitely, as a minimum ????).
This seems like one of those things that is really easy if you're working in the space all the time. But hard to work out if you're coming at it from the purely "technical research" angle, as I have been.
Any help or advice would be GREATLY appreciated!!
Stephen

What is your source material?
Remember that the Hollywood films are mostly shot on film at 24 fps. The film is then scanned in at an amazingly high resolution. The online H.264 files are compressed from that and at 24 fps.
Let's compare that to DV, for example. Not only are you starting with far fewer pixels, you're working with 60 interlaced fields. That often gets turned into 30 frames per second for the online file.
So you've got two problems here: 1) Fields combining won't be as good looking as starting with a progressive format and 2) by having 30 fps instead of 24 fps you're going to have a larger file size even with the same settings!
Ok, so maybe you're working with HD video. You're better off, but it's still not even close to the same resolution. And unless you're working with some kind of 24p format that you've properly converted, you're still dealing with 30 fps. (Many 24p modes on cameras are actually recorded at 30 fps, and have to be properly converted later.)
I don't know if any of these things apply to you or not, but hopefully it's given you some clues. The bottom line is, this IS a "garbage in/garbage out" situation, even though your video is not "garbage." It just means that you're fighting an uphill battle here by comparing yourself to something that started at a much higher resolution to begin with. That makes a difference, even when everything is shrunk down to the same size in the end. (And that 24 vs. 30 fps thing is a big thing too.)

Highest Quality DVD Encoding for 29.97 and 24p DVX Footage

I want to make sure that in both FCP and in Compressor that I am setup to have the best possible quality SD DVD.
I have edited footage that is both in 29.97 and 24p from a DVX100a in Final Cut Pro 6.04. My sequence settings are:
720x480 -NTSC DV 3:2
Pixel Aspect: NTSC
Field Dominance: Lower (Even)
Editing Timebase: 29.97
Compressor: DV/DVCPRO - NTSC
Quality: 100
Video processing and render settings are on the highest setting.
I am done editing and want to encode to SD DVD using Compressor. My settings are:
Video Format TAB - Untouched (NTSC, 29.97, 4x3, Field - Bottom First)
Frame Controls TAB -
Resize - Best
Output - Progressive
Deinterlace - Best
Adaptive Details - Not Checked
Anti Alias - 0
Details Level - 0
Rate Conversion - Fast
Set Duration 100%
Are these settings correct? When I brought the mpeg2 into DVD Studio Pro and put it into a track, it said that it was 720x480i. Shouldn't it be 720x480p? I am a bit confused. Any help would be appreciated.
Thanks!

Look, you really need to wrap your head around 24p, 30p, 24pA and 30i.
Interlace is not an ugly issue. It is a benefit. Interlacing normal on broadcast television. Your TV scans down and back up for each frame... alternating lines. When you shoot 24p on the DVX it puts it to tape where for every 3 frames of progressive it combines FOUR frames to give you TWO additional combined (interlaced) frames. So.. there are 6 sets of 5 frames per 1 second giving you 30 frames per second. If you take those 3 progressive frames by themselves 3x6 is 24 frames per second.
You OBVIOUSLY want to final out to 29.97 or 30 fps so you'll need those extra 2x6 frames to get you to 30!! If you wanted to final out to 29.97 AND you wanted progressive frames for EVERY frame you should have shot 30p mode.
Now... when are they ugly? When you are standing still on a frame. When are they unnecessary? When you plan to show them on a computer or progressive monitor. Remember, even when shooting progressive and playing it on a TV you will STILL have the TV doing interlaced scans... the only difference is the down scan is taken from the same point in time as the up scan.
Plus... you don't capture TO a sequence... you capture the video and edit it IN a sequence. You can still capture the footage in 24p at 29.97 and remove those 2x6 extra frames and edit in a 23.98 sequence.
Do some reading. It will only help.
CaptM

24p & broadcast???

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