24p or 60i?

This may not be a question particularly pertaining to Final Cut, but I figure someone should know this. I've been filming a short film in 24p, but am going to have a scene all in slow motion (about 50-60% of regular speed). Would it be better to film this scene in 60i or 24p? I just didn't know if 60i would look better in slow-mo or not.

You are shooting 24p and the camera adds a 3/2 pulldown and lays this on tape as 2997/60i so when you shoot 30p you will be getting a strong progressive frame laid to tape as 60i without the interlaced pulldown frames added from shooting 24p. I would shoot these slowmo's in 30p.
Good luck
Z1&V1user

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Converting 24p to 60i

I have a project shot in 60i, and unfortunately there's one piece of footage that was shot in 24p (normal). I need to intercut the 24p with 60i, and I'm trying to find a way to convert it so that it looks at least somewhat similar- I understand it won't be perfect. It's not an issue of matching timelines for editing, and I know that I can convert the interlaced to progressive. But is there any way to use either compressor or fcp to make the progressive footage look more interlaced? Unfortunately, I'm pretty much a rookie with compressor- with fcp I'm fine. Thanks in advance...

So is the pulldown stripped from the 24p material? That is, is that footage now 23.98? Or is it still 29.97?
If it's the last one, you're saying that intercutting between that 29.97 footage (telecined-by-the-camera 24p) and your normal 30i material doesn't feel right?
If your 24p material is reverse telecined already (it's 23.98), you could try to Retime with Compressor 2 or later (drop-in your movie, chose the appropriate Advanced Format Conversion preset, set Retiming to Better, and wait. Forever). That will create new frames to give you 29.97 material.

I am filming a musical tomorrow so need a reply ASAP! Should i shoot in 24p or 60i?

Obviously i know the difference between progressive and interlaced, the thing is i am using my cam which is the Sony HXR-NX5U and my secondary camera, the Sony CX580V only has the option to record in 24p, 60i, or 60p. My HXR cam can do 60i, 30p, and 24p. I know for the most part you want progressive, but given that it is a musical, i'm not sure if the higher frame rate would be more appropriate or not? Any advice would be appreciated! I know it isn't technically adobe premiere pro related (even though thats the software i use, but you guys know stuff!! Help!)

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 to 60i for slo-mo???

They didn't listen to me, I told them to shoot it in 60i and I'd convert it to 24p later. So my H-wood (we've been doing videos for 15 years) friends are now whining and of course blaming the medium for their choppy, strobing slo-mo. Anyway to convert back to 60i from a 24p source? Graeme, Patrick, anyone??? Thanx.

First of all, you don't have to guess at the codec - If you're using DV, select DV - if you're using Uncompressed 8 bit, well you get the idea. To set the frame rate in Compressor 2, go to the encoder panel and click on the Video Settings button here:
Then select the appropriate frame rate thus:
make sense?
Patrick

To 24p or 60i that is the question...

If I'm doing some high speed auto race type filming would it be better to use 60i -- if I plan to ultimately publish on HD Blue-Ray is it better to stay 60i?
Rob.

You really need to test this yourself to find an answer. Plant your camera on a tripod at a busy intersection and shoot a bunch of video.
What sort of aestetic are you looking for? Slow shutter interlaced video looks a heck of a lot different than fast shutter interlaced video. Slow shutter progressive video looks a heck of a lot different than faster than fast shutter progressive video. fast shutter will give you clear freeze frames with no motion blur but try panning with a fast shutter. your viewers will not thank you.
We can offer up all the puffed-up opinions we want here but it's your show with your eyes and your vision; get your camera out and test. That is my opinion.
Zeb

Editing 24p that's shot in 60i: remove pulldown or not?

I'm going to edit some 24p footage, which is 60i with a 3:2 pulldown. If I reverse/remove the pulldown before editing, I know I can edit it in native 24p, but since it was recorded in 60i, I can also keep the pulldown and edit it as 60i video, right?
My options are:
1. Remove 3:2 pulldown before editing and edit in 24p
2. Don't remove 3:2 pulldown; edit in 60i
Does the quality get affected at all if you take out 3:2 pulldown in order to edit in 24p? I'd like to preserve quality. When you edit 24p/60i video, do you ever edit it in a 60i timeline?

It won't be shown on the web, it will be burned to a regular NTSC DVD, with the unlikely possibility of Blu-ray in the future.
My real question is whether or not reversing pulldown will reduce quality at all. Because it involves decompressing video (so that the pulldown fields can be extracted), which makes me wonder if that changes the quality. If it doesn't, then I guess it doesn't matter if I edit 24p or 60i.
Anybody know if quality is affected by pulldown reversal?

Shooting 24P Need final output to be XDCAM 1440x1080i60

I will be cutting spots shot at 24P and some variable High Speed frame rate footage. My final output needs to be 1440x1080i XDCAM format. What is the best sequence settings to work with? Does the footage need to be converted before cutting or should I cut to the native forma shot and conform it after finals are approved?

If it's shot at 24p without pulldown (what's your original format?) then cut at 24p and add pulldown to the final masters. I don't know if there's any way to add pulldown to a file using FCS. I always use AE or output to tape. Conforming 24p to 60i using Cinema Tools is definitely not what you want to do.

Out of Sync/Export Settings/24p

I'll try to explain this the best way possible....
I have a bunch of project files for a movie that i'm working on. I felt it was easier to edit in a bunch of different projects, and then combine them into one solo project at the end. However, once I lay all the edited video+audio from the project files into one final project, the audio goes out of sync. Even when I export it, the audio is still out of sync.
I am combining 24p and 60i files, my sequence settings are for 24p, and I was planning on exporting to m2v for DVD Studio Pro.
What would be my best option for exporting for DVD without an audio sync problem or the "streaking" effect (three frames forward, one backwards) that plagues 24p exporting.
Thanks in advance,
Natha

I don't want to sound impatient, but this is for a college project that is due in 48 hours... can anyone help ASAP?

Shooting in 30p vs. 24P vs 24P advanced? / sequence settings

I'm using a Panasonic DVX 100 camera. (i'm new to it) Sorry if these are naïve questions, but I need help.
Not sure what the difference is if I should shoot in 30p/24p/24p advanced?
If I shot in any of the three, do I use different settings when I import?
Also, how do I set the sequence settings for the best results?
I appreciate your guidance...

Whether you shoot in 30p or 24p depends on what your style of filming. Hands down 24p is going to look the most like modern day cinema, but you need to make sure there is plenty of light, and also watch a bunch of movement. Basically you are looking at the difference between packing 24 frames in a second, or 30 frames in a second. Most of the time, so long as you aren't doing massive pans you will be fine with 24p. For me, I do a bunch of shoulder mounted filming, so I use 30p to make sure I don't get any "slideshow" effects if I decide to slow it down or maybe pan across the horizon. If you film in 24p, you want to capture in 24p. You can do an easy setup for HDV 1080p 24 or 720p 24 depending on what reso you are filming at.
Usually the question comes between 24p and 60i. If you are ever going to have a bunch of movement, or intend on doing slow motion at all, 60i is a much better result. You can always color the film later to get a cinematic effect. Hope this is helpful. (and true..)

Capturing DVCam 24p

I shot 16:9 DVcam footage on a V1u at 24p. What setting should I use to capture and edit this?
I tried "DV NSTC Anamorphic" and it looks petty bad (horizontal aliasing), and frame rate was the usual 29.97.
Thanks for your help! - Andrew

It's HDV, not dvcam, yes?
edit --
oops... just saw it can do dvcam too...
However...
The sony brand of 24p means 60i with 2.3 pulldown cadence.
So - capture 1080i at 29.97 fps.
CaptM
Message was edited by: Captain Mench

24P Compression for YouTube?

I shot this video on a DVX100B in both 24P and 60i. I exported from FCE using H264 as a quicktime with an automatic data rate, Best Quality preset, current frame rate, 768x576 dimensions (native is listed as 557x417), and key frames every 24 frames. Here's the video:
http://www.youtube.com/watch?v=br3-Z-t9vHU
As you can see, there are horizontal lines on the video during quick motion in all scenes shot in 24p. This artifacting doesn't occur in the source footage or in the Quicktime export or after the video has been encoded as an FLV for Brightcove. It only occurs on YouTube, in both normal and high quality.
Has anyone else addressed this problem? I've troubleshooted for weeks, trying different combinations of MOV and MP4, changing the data rate, and key frames. Anyone have any suggestions? I'd appreciate any insight.
Cheers,
Rakesh
Apple iMac
2.4 GHz
2 GB 667 MHz DDR2 SDRAM

I followed this recommendations and they worked for me
http://www.google.com/support/youtube/bin/answer.py?hl=en&answer=132460
My footage was original recorded on 1080p60, here is the video
http://www.youtube.com/watch?v=dnWTVppVt74

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

What are the best settings to convert .mts files to Prores

Hi friends,
Trying to figure out some settings. I am a novice editor so please forgive lame terminology in advance:
I have footage shot on a Canon Vixia HF M500. I am editing in Premiere Pro CC on a MAC with OS 10 Mavericks. I tried editing directly from the .mts files, but it doesn't scroll through footage well unless I render. Also if I add any effects like a fade in, etc it wants me to render the entire clip. I think my best workflow will be to convert the files to Prores prior to editing. I generally output all of my masters as Prores anyway so it seems like the logical choice.
What I can't figure out is which settings to use. I'm converting using Adobe Prelude CC (which then uses Adobe Media Encoder CC). I installed a group of Prores presets and my four main choices are:
1080i, 29.97
1080p, 29.97
1080i, 23.97
1080p, 23.97
The camera itself has three settings 30p, 24p, and 60i. The 24p and 60i are both interlaced (even though 24p shouldn't be) so I use 30p. I'm pretty sure the correct setting for me to transcode to is 1980p, 29.97 but not sure how to determine that. When I look at the .mts files in Premiere it tells me they are 29.97. Do I have to match that when I transcode? Not sure how to know whether they are 1080i or 1080p. I'm hoping it's 1080p because working with interlaced footage is a major drag. Also, does it even matter? If it's transcoding anyway, can I just pick whatever setting I want and that becomes the new normal.
Any help will be greatly appreciated. Thanks!

Thanks for the response Johnathan. I noitced that videos converted using the iPad preset did look ok on the mini, I was just curious if having more bespoke settings would create videos that would maximise the smaller screen real estate???

Can't see video on a clip, it is blank.

In both the clip browser and the time line no video shows unless I place the play head over an area. In the older version all the video was in view all the time. How do I turn on the video?

My guess would be FCP 4.5 - the "HD" was just support for DVCProHD and I'm not sure 24P within 60i was supported...
Can you try it in a newer version? Does the file open up in QuickTime Player?
Patrick

Droplet created in 3.0 running now in 3.5 doesn't submit to Batch Monitor?

I've got a droplet I created in FCS2 (Compressor 3?).
I upgraded to FCS3 and tried to use my droplet.
I get a window with 'Server: This computer - submitting 1 files'
But in the Batch Monitor I never see anything appear under 'This Computer'.
It's just a simple droplet to take a ProRes 422 HQ captured from an HV20 in their 24p in 60i format - that strips out the extra garbage and reverse telecines.
1st time I've tried to use it with Compressor 3.5.
How can I debug this?
Name: 24p
Description: Apple ProRes 422 10-bit video with audio pass-through. Settings based off the source resolution and frame-rate.
File Extension: mov
Estimated size: 73.75 GB/hour of source
Audio: multi-track passthrough
Video Encoder
Format: QT
Width: 1920
Height: 1080
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: 23.976
Frame Controls On:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Reverse Telecine
Adaptive Details: Off
Antialias: 0
Detail Level: 0
Field Output: Progressive
Codec Type: Apple ProRes 422 (HQ)
Multi-pass: Off, frame reorder: Off
Automatic gamma correction
Progressive
Chroma filtering enabled
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 0
Temporal quality: 0
Min. temporal quality: 0

I found the original droplet in my Compressor settings list, and created a new droplet from 3.5.
This time, when I dropped a file on it, it worked.
But - in case I need to convert a droplet from 3.0 to 3.5 (that doesn't exist in Compressor settings), is there a way?

24p or 60i?

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