24p to .mov

What is the correct export setting to export a 24p project to .mov?
I have used 1080 60i but that .mov shows some of the black pulldown frames.
Thanks in advance.

Eureka! I created a new 24p seq and pasted my cut, checked the properties again of the sequence and exported as you suggested and it worked. THANK YOU THANK YOU!!!

Similar Messages

24p interlace problem

I'm a long time FCP user, but dealing with 24p footage for the first time. Here is the issue:
Some students of mine shot their project on a DVX100 camera using the 24a frame rate (Why?...cause it looks cool, dude).
I suggested they capture using the Advanced pulldown removal and edit in a 23.98 timeline. When I look at the QT clips captured in their capture scratch, they are beautiful. 24 frames...some motion blur, exactly what you would expect.
In the FCP canvas, the same clips show up terribly interlaced. I wasn't too worried initially, because I know the canvas degrades the image somewhat. But as a precaution I exported some clips from the timeline using various codes (h264, animation, none, dv ntsc).
All of them are different shades of ugly. All interlaced and nowhere near the quality of the captured footage.
My original plan was to have the group do an export to create a 24p DVD, but I'd really like to resovle this interlacing issue first.
I've messed around with the sequence settings, specifically the QT video compressor. The default is the DV NTSC codec, but I can get the canvas to display the footage without interlacing with some of the other codecs (Animation and None, for instance). When I do that I have to render the sequence, but it still doesn't help any exports I try.
It seems to me that if you aren't playing out to a monitor, you should be able to 1) set FCP playback on the computer monitor to be at 24p and 2)export some sort of 24p QT movie that keeps the original look of the footage.
I'm sure I'm just overlooking something basic, but I can't figure it out. Any 24p gurus care to take a shot?
Thanks!
Dual 2.3 Mac OS X (10.4.2)

Found this:
DVX100 24pA footage should always be captured at 29.97 because that's what's on the tape. When a user wants to cut at 23.98 they need to properly remove the 2:3:3:2 pulldown introduced by the DVX100 during filming. The DVX100 flags these extra frames and embeds these flags into the Firewire data stream. FCP can read these flags back during ingest and conform the 29.97 pulldown footage back to the 23.98 captured by the camera. That is what the Remove Advance Pulldown from 2:3:3:2 sources checkbox in the capture settings is for. But in order to do this properly, the FPS setting in FCP must be set at 29.97 to give FCP the full firewire data stream and allow it to properly recognize the flags and remove the Advance pulldown frames.
If you set the capture FPS at 23.98, FCP will randomly delete frames to get from 29.97 to 23.98 but they will not be the correct frames. You'll wind up with a 23.98 file that looks odd during playback from FCP because the 2:3:3:2 interlaced pulldown frames are still there along with randomly missing progressive frames. This has become the number one issue plaguing FCP users with DVX100 footage who want to cut at 23.98 and has resulted in a lot of confusion. I've hoped to lobby Apple on this issue so that they might include a warning pop-up in FCP giving notice that 23.98 FPS capture will result in improperly digitized DVX100 footage but haven't made any headway and Panasonic hasn't been able to either- maybe you can help with that.
I know it seems counterintuitive that one would use 29.97 as the capture frame rate in order to ingest 23.98 footage but that's how it must be done because of the way the format is recorded to tape.
CaptM

24p assets confused

I'm confused and the documentation doesn't help much.
Source clip is 1080/24p *.mov in AIC.
Now I want to create a HD DVD where the original 24p clip is preserved. I understand DVD has to be tagged as either PAL or NTSC so the player knows whether to telecine the original 24p to NTSC or speed it up to PAL when the player outputs the interlaced signal. (this requirement is kind of old as most new players and HD TV can handle the original 24p).
In HD-DVD/PAL or NTSC project no problem, the clip shows up as 23.98 fps in asset window, and 25fps or 29.97fps respectively in asset inspector.
Per documentation, 24 fps QuickTime assets will be re-encoded and will not longer be 24p when you build the project.
Question 1. How is it done? Will the original 24p be preserved, in case of PAL just simply labeled now as 25p (i.e. clip playback sped up 4%) or will they attempt to preserve clip duration by manufacturing some extra frames?
In case of NTSC will there simply be a flag telling the player this is 24p material so telecine in on the fly, or will they write telecined footage to the disk.
Documentation suggests that in order to preserve 24p material, one should import 24p assets in MPEG-2 (that would indicate that the answer to the first question is, no we do preserve the original 24p media).
Well I transcoded the original QT clip in Compressor to 24fps/MPEG-2 asset, and it shows as such in QT inspector. (there is no Compressor option to select either NTSC or PAL flagging in the output contrary to what DVD Studio documentation implies).
Well that clip can be imported into NTSC project but not PAL (presumably because it is quietly labeled as NTS). What I don't understand now is:
Q2: why this clip is labeled now as 29.97 fps in both assets and asset inspector window? That would imply that the original 24p will not be preserved and DVD studio will write the actual 29.97fts stream to the disk. Correct?
-------

If you give DVDSP a 24p QuickTime movie (an .mov file), your second guess is correct: DVDSP's internal encoder adds 3:2 pulldown into the resulting file to create a telecined, 29.97 MPEG-2 video stream.
If you provide DVDSP with a Compressor-encoded 24p MPEG-2 file (an .m2v file) DVDSP sees that as a 29.97 non-drop frame stream because DVD-Video (for NTSC) must be playable as 29.97, so, yes, Compressor simply adds flags that tell the DVD player where to add 3:2 pulldown during playback. DVDSP, like a DVD player, reads those flags upon import but the video stream - as you've determined by playing it in QT - is still 23.98 fps.
This is extremely confusing, I admit, because the manual adds to the confusion - it's flat out wrong, if memory serves - but trust me, if you're looking to maintain 24p playback, using Compressor-encoded assets is the way to go.

Best Way To Export My Short Film... HELP!

Hey everyone,
I've got a 27min long short film that I shot on a Canon HV20 (in 24p HD 16:9 W/S) and I have been playing around with exporting as a Quicktime Movie but nothing seems to be working out too well! Just using standard settings gives me these HORRIBLE lines everytime the camera moves and defeats the purpose of shooting in 24p. Is there any video settings that anyone prefers out there?
Also, I need a version to upload to Youtube. Is there anyway I can get a 27min long film into 100mb without completely loosing my quality?
Thanks again.

Goat,
Details please.
Exact format of your footage - is this AVCHD? or HDV?
How did you capture - AVCHD can only be captured as PRoRes or AIC if I remember correctly
What are your sequence settings?
How are you monitoring this?
Describe "Horrible" lines, horizontal, vertical, wavy?
everytime the camera moves and defeats the purpose of shooting in 24p
This could be a direct result of shooting in 24p. In 24p camera moves must be slow a deliberate or you will get some jittering. This could be translated into lines depending on what format you shot in.
As far as youtube is concerned I think that they have a 10 minute limit.
K

"Ghosting" with 24p cam footage exported to .mov

I have a Sony HVR-A1U camera and I shoot everything at 24p. When I export the move files in imovie they always come out "ghosting" or looking jagged...anyone know what i have to do to fix this? also...this happens in every quality...except when i do cdrom...i cant see it then..but in full quality its definitely there...

Try exporting using 640x480 with square pixels.
Cheers
Eddie
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Troubles with 60i and 24p movie

I am a newbie for sure, so please forgive my lame description of my problem.
I have Premiere Pro CC and have imported 24p movies from my 5D Mk III onto the timeline, all good. I am trying to do cut aways of footage that was shot on a Vixia G10 camcorder at 60i (an oversight). When I drag onto the timeline, it plays a choppy postage stamp sized version on the preview stage. Thus, on the cutaways the original footage is there with a tiny little cutaway in the middle.
Is there a way to pull the video into CC and have it deal with the difference in frame rates? I have searched but didn't find anything that seemed to fit..
thanks in advance...
vin

Post a screen shot of your Program Monitor with the 30i stuff showing.

HD movie files need constant RENDERING in FCP 24p HD 1440 x 1080 sequence.

Hi,
I have been editing a feature film which which uses a FCP 24p HD 1440 x 1080 timeline (sequence, or many different sequences actually). The movie was filmed exclusively on a Canon HV40 camera using, of course, 24p HD footage, widescreen. However, I am now adding footage shot on a small Canon Powershot digital camera which also can shoot decent HD video (.mov files likewise, but not in 24p). When I put this HD video into my timeline, a red render bar appears above the footage, and apparently I have to render the footage before being able to view any of it in "Safe RT" mode. When in "Unlimited RT" mode, an orange bar appears above the footage, and it "plays", but the footage plays very unsteady, stopping and starting, making it nearly impossible to edit fast & intuitively because the eyes/mind don't see the full clips in all their natural wonder/splendor. One just sees images that skip and fumble by, along with their sounds, and it's somewhat headache-inducing. Is there any cure for this? I have lots & lots of Powershot footage to edit into this film, but at this rate it will really slow down the natural flow of editing if i can see the footage as nature or god or Buddha or humans intended it to be viewed.'
Any help would be much appreciated.
Thanks,
Marc

David,
It might seem simple and obvious from your end, but these issues are pretty spanking new to me - despite editing for years in FCP they've just never come up. I'm a simple aim & shoot, edit & print sorta guy. So, I don't know, for instance, how to convert the 940 footage to to my Canon HV40 footage. Any help would be greatly appreciated. I did run a sample of mixed clips through through compressor, and there does seem to be some degrading of quality on the 940 footage, tho' I'll accept/use it like that if I have to. Luckily all the 940 footage appears in the film as flashbacks of sort from the main character, so the degrading element of the 940 footage might have a redeeming stylistic affect - MAYBE. But I'd rather keep it as pure of footage as I possibly can muster.
Thanks much,
Marc

My 24p movie is worse now

Anyone out there that can help? Please.....
Now that I've added ProRes 422 for Progressive material, my footage is far more blurry and jittery than my raw footage. Is this normal?
Also, how do I get my footage back to FCP from Compressor so I can edit?
thank you,
Trey

The blurriness could be caused by the progressive deinterlacing. You shot interlaced footage originally, which consists of two fields. One plays first and then the other plays a fraction of a second later. When it is deinterlaced, one field is thrown away and the other is recreated from scratch and combined into one image. This means two things - 1) you lose vertical resolution and it will not be as sharp as the interlaced footage and 2) because you are losing that second field, you are losing some of its motion too. So if you have something moving very quickly across the camera, you might notice it being less smooth than it was before.
The best way to view your footage is on a properly calibrated broadcast monitor. At a minimum though, you should be rendering your footage on the timeline and viewing the canvas at 100% zoom in order to judge it.

Different frame rate encoding on tape (24p & 24pa)

Hi,
I usually record to tape with my dvx100 using 24pa, but sometimes the quick setup dial was switched accidentally resulting in a different frame encoding, like 24p for example.
Everything is recorded in 29.97fps on mini-dv, we all know that, making apparently no difference b/w 24p and 24pa.
But of course, when i'm trying to capture this footage through FCP, i can't always remove the advanced pulldown because there's a few clips that have been recorded with 24p instead of 24pa.
Questions:
- How can you detect the different encoding on tape, whether it's 24p or 24pa?
- Can you get FCP to create a new clip (at least stop) the capture for those sections of the tape where I have something different than 24pa?
- If nothing like that is possible, how do you solve this problem?
Thanks!

the only pulldown pattern that FCP can remove at capture is 24pA (3:2:2:3). Standard 3:2 pulldown can only be reversed using cinema tools. If you open the clip in cinema tools, you'll need to park the playhead on the first frame of the pulldown cadence for it to correctly remove the pulldown. This will create new copies of your clips, which will take up a corresponding amount of space. There is no way for either FCP or CT to reconize the pulldown cadence of standard 3:2 clips, so you'll have to manually find the A frame of the cadence. If you have a huge number of them to do, you may find it quicker to place each clip in a sequence where you can put the A frame of the cadence as the first frame in the sequence. Export these as a batch of reference movies, and you should be able to do a batch inverse telecine on them in Cinema Tools.
These new clips will no longer match the timecode of your tapes, so if you remove the original 29.97 media, you should at least keep the offline 29.97 clips in your project in case you need to recapture.
Hope this helps -
Max Average

Exported Qtime Movie does not (at all) match edited sequence

I am really stumped on this one, guys.
I have a simple FCP project. It's 1 sequence, 2 video files and 1 music file. 3minute 30 second video.
Can't get much simpler than this.
My problem is that whether I export the sequence to QT movie, OR I export it to compressor, what is coming out on the other end is really NOTHING like the edited sequence I have playing (correctly) in my single sequence timeline.
QT and Compressor export videos are identically wrong: The edit points are wrong, the video segments that are being referenced are wrong and the timings are all wrong. I tried clearing all the markers out of the timeline (no dice).
It's as if FCP is playing the sequence correctly, as edited, and then is using some other editing timeline for the final output and I can't figure out what's going on.
- My project has 1 sequence which I am trying to export.
- There are basically 2 reference video files (raw files) that I am using as source material. Each file was shot at 24ap, and I imported them correctly at 29.97fps into a 24p timeline using advanced 2:3:3:2 pulldown. They play correctly in the timeline and I know the settings are right because I have exported several DVDs in 24p before using exact same settings. The exported video here LOOKS "right" but the edits are totally wrong.
- Each of these video files has been "marked" by start/stop times via "mark" into segments. (In the browser on the left) One file has about 40 segments, the other has about 6 segments - based off the start and stop times captured during recording.
- I dragged the segments into the timeline to start my editing. (I have done this before and it worked fine on export) The segments all played correctly in the timeline from both raw video sources.
- I used the razor tool to cut the video segments down to sub-segments of video I actually want to use. (edits) I discarded the audio portions of the clips because I am not using them. (but the video edits remain)
- I have 1 audio track, (music) and I am not using the audio tracks from the video. (Deleted those segments from timeline)
Additionally:
- The edited sequence plays back PERFECTLY. Every shot, cut, etc is right where I want it, and it plays in the sequence window exactly the way I want it to export. No errors, no glitches, nothing.
- The music plays back fine
- I checked to make sure there were no "hidden" video tracks or video tracks on top of one another.
- There are no "render errors". Everything appears to be rendered, but I went ahead and rendered it again anyway.
- There are no "missing media" files. As far as I can tell, all of the project's media files are connected properly and I didn't move any files.
- I have tried restarting FCP. Didn't help.
- I have tried rebooting the system. Didn't help.
My timeline is set to 24p. (23.98)
Up to this point I have had no issues exporting from FCP either to QT nor to Compressor. Everything prior to this file exported exactly as it played in the main sequence.
This time, the sequence plays correctly, but the export is totally wrong, and I have no idea how to "fix" it because eveything in my sequence timeline is CORRECT. Ugh! If this is what can happen to a simple video clip, what happens when you are editing a MOVIE????
Is there a way to "reset" FCP to force it to check media connections and re-render everything from scratch?
Any other suggestions?
(FCP 7.0.3)
Thanks!

ALMOST Solved:
Well, I haven't given up yet, and I am one step closer to solving the problem (almost there), but still need some help.
My workflow is really simple (and obviously wrong):
- Create new project
- Import source video
- Use DV Start/Stop Detect to mark source video into video segments
- Drag resulting segments of the source video to the timeline (all at once, in order)
- Use razor tool to edit segments (cutting out unneeded footage, arranging edits etc.)
- Select edited sequence
- Export (Quicktime or compressor)
- There is nothing wrong with the source files. I have used them in other projects just fine.
- The problem IS with the way I am editing, and specifically it has to do with using the razor blade tool and using it on segments of video. not clips, segments of clips.
To test this, I created a brand new FCP file, imported my raw footage files into the clips browser (like normal). Then, I selected all of the clips and chose "mark\DV start top detect". Lastly I dragged all 3 sets of segments (each video has been broken down into segments) into the timeline. Without doing ANY other editing, I rendered the current timeline.
This time, the segments all exported into the resulting Quicktime movie exactly as they sit on the timeline, CORRECTLY. What is playing now in Quicktime matches exactly what is on the timeline. This proves that there isn't anything wrong with my source files nor my exporting codec.
So, my problem is using the razor tool on video segments. This is a timing and timeline issue. (You are right, Bogie!)
The really annoying part about all of this is that the sequence plays CORRECTLY in the output window! If FCP would just export my sequence the same way it is playing it back to me on the timeline, there would be no problem, but it doesn't.
For whatever reason, cutting a video segment on the timeline does not tell the FCP render engine where the new "edit" points are within the video segment - and that's probable the wrong terminology. The edited video sequence looks correct and plays correctly in the project window, but it doesn't export to QT (or compressor) the way that it looks because FCP is ignoring the razor edits.
For whatever reason, FCP insists on using only the original DV start and stop points in the timeline as defined by the orignal segments that have been dragged to the timeline. In other words, FCP is using the DV "start/stop" points, as was defined by marking prior to dragging the segments to the timeline as the timing used to export to quicktime.
OK, I GET IT. FCP doesn't like me mucking around with timecode of video segments!
So, what's the work around or correct way to do this?
At one point I was able to make independant video clips out of all of my segments, but I can't remember exactly how to do it.
I'm going to try that next, drag all the resulting video clips to the timeline and try again.
Back to the drawing board....

Audio drop-out in FCPX with 1920x1080 & 2048x1240p @ 24p (codec Apple ProRes 4444 (Linear PCM))24p

Hi all...
I'm new to this forum.
Is there an audio issue (drop-outs) with FCPX (ver 10.1.2) for 1920x1080 24p, 1080p HD & 2048x1240 24p (2k) - note: films in FCPX are in codec Apple ProRes 4444, Linear PCM?
Very recently I've been working on a show reel and I have imported a file (short film) to snip out a section to add to the show reel.
I set the project to the film's settings i.e.. "set based on first video clip"...(1920x1080 24p, 1080p HD). When I play the film in FCPX the audio "hic-cups"..."dips to silence"..."drops-out" briefly (up to 0.5 secs in duration) and very frequently all the way through (approx 15 mins long film)...note: audio set is at stereo 48kHz. The audio monitors on the right hand side also show the dip taking place (if it's a long enough drop-out).
I also have a version of the film in 2048x1240 24p at 2k, again Stereo 48kHz...and this does the same audio "drop-out" all the way through. I'm unsure what other formats will create this problem i.e. higher or lower aspect ratios than those above.
Is this a software and/or OS issue? Or a hardware issue? Or both!?
About This iMac details:
iMac 27 inch: OS X ver 10.9.4
Processor: 3.5 GHz Intel Core i7
Memory: 32 GB 1600 MHz DDR3
Graphics: NVIDIA GeForce GTX 780M 4096 MB
Fusion Drive 3.12 TB
Final Cut Pro X was bought & installed with this iMac back in Feb 2014
FCPX version: 10.1.2
Note also: I used Compressor (ver 4.1.2) to convert the files (movies) above to Apple ProRes 422 HQ, Linear PCM and the issue disappeared - the audio and visuals played with no problems. All films play with no issue when opened in QT player. They are also fine when exporting from FCPX. The issue only occurs (as far as I can tell) within FCPX when editing or playing the audio there.
Has anyone encountered this problem?
Kind Regards,
Hakan

Hi Luis,
Thank you for that.
Seems like you have a point about the "hardware" issue. I'm unsure (new to it all) at what data rate my (er...wonderful) fusion drive provides FCPX for smooth playback - or where I can find that info on the iMac. Playing back movies in the 422 HQ codec seems to have no issues (when I converted the movie from 4444 HQ).
But playing the full 4444 HQ, the picture is smooth, but the audio has these drop-outs - even with "best performance" option ticked. Interesting that the audio suffers, not the picture in FCPX - so not sure what's going on there. I also read - perhaps - that to play a smooth ProRes 4444 HQ movie in FCPX the data rate should be min of 500 Mbs (based upon About Apple ProRes) for HD movies and up (i.e. 2k). ProRes 422 HQ needs a data rate of 220 Mbs - so that is my upper-limit to smooth video&audio playback with the current system I have, I guess.
Does anyone recommend a fast USB3 or Thunderbolt drive (500Mbs+) where I am able to run 4444HQ movies with no issues to picture or sound (away from the fusion drive)?
KR
H.

IPad Air display refresh rate for full screen movies?

What exactly happens if I play a movie on the iPad full screen with a rate of e.g. 24p, 25p or 50i?
The stated maximal refresh rate is 60Hz.
Will this rate be reduced when playing movies?
Or will frames be dropped / interpolated if the frame rate and the refresh rate don't match?
Or will the movie be sped up / slowed down?
When using the HDMI adapter, I can see that it always outputs 60p, regardless of the movie frame rate. But maybe this is different on the internal panel.
Thanks for any insight!

Should it happen again double tap the screen with three fingers. Then go to settings> general> accessibility> zoom> off.

Can you edit 24 Frames Per Second ( 24p ) in iMovie 6?

Does anybody know?
I see that when you "Create a new project" you can choose several options, including 1080i .. but can you pick 24p somehow?
FCP can .. is this too much to ask for iMovie 6?
FCP seems to hard to use for a beginner .. but why can't we shoot 24p and edit with iMovie....

The 24p just looks so good to the eye
sure, but mainly because of usage of "progressive" instead of interlacing...
the framerate has very little effect on the "psychological" perception of a movie; the main issues of "movie look" are:
* progressive - as said
* blurr - video pics are mostly "crystal clear", a film-camera has looong shutter-times, compared to a consumer DVcam (which in bright sunlight switches to 1/2000sec)
* fps - PAL has 25, which is close to movie.. we have more motion-blurrs then NTSC videos.... NTSC could look "too sharp"...-
* depth of field - film has a much smaller area of dof
* different color scheme - ..ehm, to be honest, .. too techie for me
as mentioned above, you get (some for free) many plug-ins for FCP/E, to accomplish some similiar effect with standard 30/25i material... for the classical "wedding video" I use JES Deinterlacer, deinterlacing the final project before makign a DVD...- looks great too...
but for sure, not as good as done with your 24p-camera-beast!!
besides:
How did you judge pic quality?
in case, you connected camera to TV... the camcorder did convert from 24 to 30fps ... ... as said, progressive looks great... but can be accomplished much easier.

Macbook Pro and 24p output

Hi,
I've got a 2008 macbook pro with a geforce 8600M GT connected to my Panasonic 37lzd85f via HDMI to DVI cable. The screen supports 24p so the only thing i need to chance is the 24p output on the macbook.
is there any possibility to set the output to 24p?
thanks in advance

Hi mawxi,
I have the same problem and i resurged the topic nearly two weeks now. For me it's important to play video native 24p and audio with SPDIF 5.1
My way:
1.) OSX: There is only the way to buy the software "switchresX". I found no other way to change the frequency to 24Hz. If tested it and it worked.
--> If anyone know more please share the information with us!
2.) Vista: I used bootcamp to install Vista. After installing all vista updates, i downloaded the nvidia driver "nvidia 8900M GT" from the nvidia homepage. It worked and there i can choose the 24Hz.
Now i searched the audio driver and the Wifi driver. (Normally those drivers should be included at the OSX disc but not at my one) I found them here:
http://catalog.update.microsoft.com/v7/site/Home.aspx
Yes! You have to use the internet Explorer, but here you find all you need.
search: "Broadcom 802" for Wifi and "Realtek" for audio, sort the list by Date.
Well, now i can use my 2000€ MacBook Pro to watch 24p movies with 5.1 sound on my fullhd beamer and 7.1 yamaha receiver.

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 to .mov

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