Best workflow for HDV 1080/60i/24pA with FCP 5.1.4

I've spent hours trying to find the answer to this specific problem on the discussion forums as well as the FCP user manuals and I can't find it, please help! I've got a Sony HVR-V1U and I recently recorded several hours of footage at 24pA. I would like to edit the footage in 24p, and preferably in a different codec besides HDV and definitely not in AIC. I don't have any experience with Cinema Tools and I can't seem to get any files directly from FCP to Cinema Tools no matter what I transcode the video to. Also, is there any way to transcode the video to ProRes because it is so much faster to render video in ProRes than in HDV.
Thanks in advance!

Removing pulldown is done during capture if you shot 24pa, and in Cinema tools if you shot 24p. However I don't think that camera shoots a version of 24p that works when you remove the pulldown pattern. I could be wrong, but as I recall, the 24fps video that the v1u shoots isn't exactly the same as that shot by say, a DV camera so might not work removing pulldown. Just looked at the specs at Sony on the camera... it does apparently shoot with a 2:3 pulldown, so after you capture, you might try Cinema tools for the removal. Never heard of anyone doing this with HDV though, so it might be pretty problematic.
That said, you should be able to transcode to ProRes in Compressor, and it should look great. Don't use your computer display to judge the quality of the results though, use an external video monitor. Artifact may show up on the computer's display when it's really not in the video...
Jerry

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Regardless of file type. Yes, file set to RGB. Yes, gamma set to 2.2 (also tried setting imported still gamma to defualt - "source" - no change)
My LCD display (mac book pro C2D 17") is calibrated, using a Spyder2. Gamma is set to 2.2. My print output from illustrator (saved as pdf x-1/a) ALWAYS prints as expected.
If I add a color correction filter, and juice up the saturation, I can try to make the still image look close, but this shouldn't be the case, YES?
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Jeremy Roberts wrote:
I have been sending jobs to print (magazine ads, web, general print) for ages, and my printed materials come in as expected -- that is, within a few % points of my display -- which is what we are expecting -- and also EXTREMELY close to proof prints, using a reasonably high-end inkjet printer, with correct paper profiles... that is to say, that although I am no expert in color management by any means, I have what I need so that what I see on screen is very close to what is printed on a local printer, or a million dollar press.
CAN I EXPECT to achieve anything close to this with video?
When you print something on paper, you get to see exactly what it will look like and that's exactly how your customers will see it too. With video, there are infinite variables affecting this such as incorrectly calibrated displays; cheap TV components; the difference between CRTs, LCDs and computer displays; the size / resolution of the display, etc. There are so many variables that it will look different on every screen. All we can do as content producers is calibrate to a common standard, achieved through a properly-calibrated broadcast monitor.
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ARE FCP editors using Apple's 1.8 gamma (I guess you must because FCP uses it regardless of your colorsync profile, per the above article). ???
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Best workflow for HDV 1080/60i/24pA with FCP 5.1.4

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