Better to finish in 50i or 24P?

HI!
I'm working on a documentary shot mostly on a a 1080 50i HDV camera. Until recently, I was working in a 1080 50i HDV sequence (that is to say, I clicked yes when I inserted the first media into the timeline and FC asked me if sequence settings should match footage). A couple months ago I switched to Pro Res, 1440 X 1080, 25 FPS. By 'switched' I mean I changed the compressor to apple pro res 422 and re-rendered. See attached screenshot for full settings.
We got into a festival recently and they accept both 108050i and 108025P HDCAM. My question is, is my sequence currently 50i (I assume so, since that what I shot in) or is it 25P (since the frame rate says 25)?
If it's 108050i -- is there an advantage to converting to 25P for the festival? If so, does anyone have any pointers on the best way to do it?
Tks!

your project is still 50i.
if you switch field dominance to 'without', it will be 25p.
for your festival i recommend 50i because this is the format you have shot.
if you want the 25p look, you want to use filters for best results in de-interlacing. forcing conversion thru simple switching in sequence settings is not the best way, you are risking artifacts.

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Single timelline sequence which incorporates 50i and 24p HDV footage

Hi.
I have one scene in an upcoming short film shot on the sony HVR-Z1 camera (50 interlaced), and the rest of the film is shot on the JVC GY-HD100 camera (24 progressive). I need everything in one timeline, and eventually out in a single sequence full-resolution format. How do I integrate the two?
Can I use the same custom 24p Apple Intermediate codec for all of the editing? I assume this is impossible as the sony material is interlaced? How can I get a satisfactory agreement between the 2 with as little image-quality compromise as possible?
Will there be a great deal of difference in the look of the 2 formats? The aspect ratio? Any suggestions on how best to hide the differences? I'm pretty new at this, so apologies if I am asking silly questions?
Thanks!

Hi there. Thanks for your prompt reply. I am aware that as of yet I´m unable to capture directly to FCP with the JVC. I have bought some mediating software which allows me to do so, called Lumiere.
What I have at the moment is compressed MP2 files and I am working with their xml counterpart files in FCP with the Apple Intermediate Codec. I am wondering however, how to get the material out into as fully a decompressed format as possile for color correction, sound synching etc?
I have noticed that even in this recommended intermediate codec the material doesn´t play consistently in my viewer. There are lags and freezes, as well as unsynched stretches of audio. I have 2 choices for printing to tape. I can use either a sony HDV deck or the JVC camera itself. I haven´t a decklink card at present so I am wondering what my best option is (format wise) for succesful transfer via firewire to tape?
What kind of size are we talking for a 4 to 5 minute decompressed HDV clip when rendered as a stand alone finished sequence?
My intention is of course to have the best image res in the finished hard copy, and I am admittedly new with this sort of thing, having only rendered and edited in DV before. Any suggestions or help would be appreciated.
Thanks,
-Tom

Better to finish in 108050i or 108025p?

HI!
I'm working on a documentary shot mostly on a a 1080 50i HDV camera. Until recently, I was working in a 1080 50i HDV sequence (that is to say, I clicked yes when I inserted the first media into the timeline and FC asked me if sequence settings should match footage). A couple months ago I switched to Pro Res, 1440 X 1080, 25 FPS. By 'switched' I mean I changed the compressor to apple pro res 422 and re-rendered. See attached screenshot for full settings.
We got into a festival recently and they accept both 108050i and 108025P HDCAM. My question is, is my sequence currently 50i (I assume so, since that what I shot in) or is it 25P (since the frame rate says 25)?
If it's 108050i -- is there an advantage to converting to 25P for the festival? If so, does anyone have any pointers on the best way to do it?
Tks!

Your sequence is (based on the screen shot) interlaced. Note the Field Dominance is set to Upper(Odd). If it is Upper (Odd) or Lower (Even) than it is interlaced. If you had a progressive sequence, it would say "None". Field Dominance give the instruction for which of the two fields to play first when displaying the frame. Since there are no fields in a progressive frame, there is no Field Dominance.
As to deinterlacing and delivering a progressive copy for your submission, since they accept the interlaced, why not deliver what you shot?
Someone else may have a different opinion, but I would go with interlaced.
MtD
Message was edited by: Meg The Dog to fix typo

Problem with combining 29.97fps and 50i (25 fps) sources into one sequence Pro 5.5

Hello,
It's been a real pain. I have two cameras, one use 50i HD format and one saves as MOV HD files 29.97fps, no option to change it.
I created a new project and finished all the editing. Now while the 50i shots looks good, the MOV, 29.97 shots looks realy bad, they are very choppy.
Especially when panning or zooming.
I created a new sequence that is HD 29.97 fps, and copy and paste the whole old sequence data into the new time line. Surprisingly the 29.97 shoots looked much better and also the 50i shoots looks fine.
But now I have all these missed sync parts on the sequence with no easy why to fix it.
It looks like the transformation from 25fps to 29.97 fps starched some clips.
Don't know what to do?
I read that you can use after effect to trasfrom the old shoots within Premiere into 25fps much better then Premiere doe's but I don't know how to do it.
I really don't want to re edit all form scratch.
Many thanks

Never leave empty gaps in the timeline, fill with black. File > New Item > Black Video will create a slug you can use.
When I mention Media Encoder, I do mean exporting direct from Premiere - that is just an integrated version of AME. If you choose "Queue", that then opens AME as a stand-alone app.
Advice on check boxes - boxes that are unchecked by default are in that state for a reason - they only help in certain situations, so if unsure what the result might be, stick with the defaults. For instance "Max Render Quality" sounds like a no-brainer, but in reality only helps when scaling the output. If exporting 1080 to 1080 for example, then no need for that.
In another thread today, someone had poor quality video output and it was a direct result of checking the "Frame Blending" box - for reasons unknown ;-)
Thanks
Jeff Pulera
Safe Harbor Computers

Tomorow I will be shooting with the Z7 in 24P HDV. Will that be compatible with Aspect 3.4 and Prem

Tomorow I will be shooting with the Z7 in 24P HDV. Will that be compatible with Aspect 3.4 and Premiere? Can I make a DVD from 24P which won't bug? Or am I better off stiking with 50i HDV to avoid any problems? Please let me know your views before I commit to a way of shooting this projet.

> Can't I export directly to DVD from the timeline?
Assuming you've got a 24p timeline and you're outputting to NTSC 23.976 fps, then "yes".
25p is a different story: I am fairly certain that Adobe Media Encoder will not do the 3% speed-up when outputting 24p to 25p. Furthermore, AME makes you choose "upper/lower/progressive" for field options. If you choose "progressive", your chroma will be sampled progressively. If you choose "interlaced" your effects and transitions will be rendered as interlaced.
So, I'd say you should:
1.) Export 1080/24p Cineform .AVI file(s) of your sequence(s)
2.) Create a new 1080/25p Cineform project and import the .AVI files fro step #1
3.) Select the .AVIs in the Project window, Interpret Footage and set the frame rate to 25
4.) Place your clips on the timeline -- be sure that Frame Blending is not enabled on any clips, do not add any effects, etc.
5.) Export via AME as PAL DVD, 25 fps, upper-field first

Firefox 4 beta won't install on Lenovo Vista Ultimate Laptop.

Desktop icon says 4.0 but 3.6 is what you get when you try to launch firefox. It appears that a restart was required for the beta to finish installing.

Issue is resolved.

Cannot run the samples in Flex Builde beta 3

The installation of Flex Builder finished OK. I did choose to
install Flash 9.0 in both IE and FF, but for some reason when going
to the examples it asks me to install Flesh 8.0. Even if I say yes
to th eprompt it doesn't display.
I have even re-installed the flas Active X manually and even
regieterd it as per instructions on the Installation of Flex
Builder 2.0 beta 3 page,, but still no luck...
Any help is appreciated.
Thanks

P.S. I asked Chris Agruss (our build and installer guru)
about some
possible reasons why the Flash player installer might have
failed to
work for IE. I've attached his reply.
Rebecca - Adobe
Here are a few cases I know about where the ActiveX plugin
for FP won�t
be installed normally:
� IE is running at the time, and especially if activeX
has been run
� Outlook, or some other program that runs the IE
engine under the hood,
is running
� Older ActiveX version installed that needs some Dark
Magic, or
explicit uninstallation of some sort
In the first two cases, where IE is in use, the plugin will
normally be
installed after a reboot, but until then it will look as if
the
installation didn�t work.
-ChrisAg
Rebecca Hyatt wrote:
> My guess is that something went wrong with your
installation of Flash
> Player 9 in IE failed for some reason (?), and that you
have IE
> configured as the default browser on your system (so
that's the one that
> FB launches).
>
> Uninstalling/reinstalling (with IE not running) might
fix the IE/Flash
> Player install.
>
> Changing the default browser to Firefox would be an
alternative
> solution... FB would launch to Firefox instead, where
the install seems
> to have worked correctly.
>
> Rebecca - Adobe
>
> mikiM wrote:
>
>> We are stuck and no idea where to go from here.
>> System: Win XP Professional, sp 2 with the latest
patches
>> CFMX Developer Edition 7.01 with updater 1
>> Clean installation of Flex Builder 2.0 beta 3,
finished OK. During
>> the installation Had selected to install the new
flash player 9 for
>> both IE (6.1) and FF (1.5)
>> Flex Builder Opens OK and displays the help properly
>> Clicking on any of the examples asks me if I want to
install Flash 8,
>> Even if I choose yes it doesn't display anything and
if I select
>> another example it will ask me again.
>>
>> Trying to run the same examples in directly in IE
fails, but works in
>> FF.
>>
>> Thanks
>>
>> BTW this is from the installation log
>>
>> Installation: Successful.
>>
>> 484 SUCCESSES
>> 0 WARNINGS
>> 0 NONFATAL ERRORS
>> 0 FATAL ERRORS
>>
>>

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

Panisonic HDX900 1080 vs 720 for 24P

I am going to be shooting and posting a project for a client in the next month and they would like a high-quality "film-look" HD capture to be delivered on DVD. I have shot some test footage with the HDX900. My issue came in ingesting the footage shot under 1080 - 59.94 24PA. I am using Panny's AJ-HD 1200AP deck over FW. My version of FCP (5.0.4) doesn't have a DVCProHD 1080 24PA Easy Setup. I captured with the DVCProHD 108060i Easy Setup and selected the "Remove Advanced Pulldown from 25 50 Sources" but the stuff comes in at 29.97. I've been reading (a lot) in the forums about dealing with 24PA in DV, but I haven't come across anything dealing with this 1080 24PA flavor from the HDX900. Here come the questions:
1) Is it better just to shoot the 720 24P with this camera (which looks great) since I have been reading that the 1080 on the HDX900 is a blow up anyway?
2) Capturing over FW with the AJ-HD1200AP from any of the DVCProHD formats I tested with the HDX900 have given me (in brief instances) an error E-02 (High Error Rate). Is this a problem with the deck? I have read in another thread on CCow there may be some confusion about the ability of this deck to properly playback the HDX900's tapes.
3) Am I stupid in not upgrading to the Universal App of FCP? There was some concerns from another editor in-house that is would run slower on our Power PC machine.
Thanks for any posts...

I'm currently doing a project from the HDX900. I've captured with pulldown removal of the 720 source to a firewire 800 g-raid with no problems and pulldown does get removed properly. We chose to shoot in 720 due to concerns about 1080 out of that cam. And it does look great. I'm also running the universal FCP on a dual 2.7 G5 with no problem.
If you want the "film look" the a great piece of advice is to get a lens adapter and use film lenses. That makes a world of difference!

Support for 24P?

Does iMovie 08 support 24P? (23.97 fps.) I have a Canon HV20 and would like to be able to edit my HD video in 24P format.

Although the HV20 does have a 24p mode, when you use this mode the camcorder does a 3:2 pulldown to make the video 60i before writing to tape. When you capture from the HV20, you're capturing 60i regardless of what mode the HV20 was in when you shot the video. You don't need any video editing software capable of handling 24p to edit video shot with 24p in the HV20.
However, there are many extra steps you can take once you capture the 24p footage (now 60i) to convert it to 24p using reverse telecine. I've done this for one project using Final Cut Studio. After all the fussing around, the final product wasn't any better than the original 60i footage captured from the camcorder (in my opinion). So why bother.
The real benefit of shooting with the HV20 in 24p mode is the better low light performance. The 24p does give you a different "look" and that look is retained in the 60i footage.
There are very few televisions available that can even display 24p video directly. Even if you could get native 24p to your TV, it probably converts it to 60i internally anyway before displaying it.
Unless you're shooting video that will get transferred to film, 60i is plenty good.

Opera mini beta for symbian

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If I have helped at all, a click on the White Star is always appreciated :
you can also help others by marking 'accept as solution'

I'm finding it Really good, Really fast and Very gentle on the phone memory, it really needs to be adopted as the default browser for Nokia (if they could get Flash to work on it) if this is a beta the finished product should be unbelievable
@Creepy, download and try it, it will 'cost' you 5 minutes to see for yourself
If I have helped at all, a click on the White Star is always appreciated :
you can also help others by marking 'accept as solution'

Converting Pal 25p to NTSC 30p?

On location. Got stuck with a two camera shoot. Principal camera is an EX3 at 24 or 30p. Second camera turns out to have just arrived from Australia, a new Sony HDR-PJ760. Nice little job. But it only does 25p, or 50i I think.
These are presentations: One camera on the speaker (EX3). The other on a large screen projecting Powerpoints (HDR-PJ760). There is no time to find another camera.
How tricky is it to convert the 25p to 30p? Or would it be better to shoot the EX3 at 24p?
I want to be able to edit the two cameras as a multicam setup in FCP.
Any suggestions would be most helpful. We have three days of presentations to start tomorrow morning.
Mmmm... wondering vaguely if one can change a PAL made camera to NTSC with a firmware change? Just on the off chance...
Where is Grahan Nattress when you need him!
Ben

Shoot the speaker at 24p, an the presentation at 25p. You can then bring the 25p material (after converting to prores) into cinematools and conform to 24p. This will be slightly slower, but there will be no loss in quality as your'e just changing the meta data (quicktime sees it as 23.98 fps) and you should be able to make slight edits to bring it back to synch when necessary. if that's not clear, post back and I"ll try and explain in greater detail. I've shot a number of projects with the panasonic hmc150 at 24p and done a conform to 25p to send to England without any issues.

Premerie Elements 11 and NEX 6 Video: Bad aliasing with imported footage

Hi,
with all my Sony NEX 6 AVCHD settings iam unsuccessfull to get good quality video in Premiere Elements 11. Only exception is 1080 50p, that is working with good quality but seams to be an overkill as it eats up SD space and is exhausting the MAC. Interlaced modes are yielding bad aliasing and the 25p mode is missing in the PAL AVCHD section. The Nex can take full hd 1080 25p but in Adobe settings in the AVCHD section there is no 25p at full hd. That does exist in the DSLR section though, but also this gives aliasing (?).
Iam also puzzled about the setting that reads 1080 25i in APE11 (PAL) and 1080 50i in the Sony NEX. I just assume both are just the same (Sony does count every half frame and Adobe every full frame made of two halfs).
Iam using an iMAC with AMD Radeon HD 6770M
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Hardi

Steve,
thanks for your reply. Iam preparing for a Safari trip next month. Iam undecided in whtat format to output the video, DVD or MPEG most likely and best quality for watching on the Mac. For now Iam just importing mini clips to see how it works and what the quality is. This is to decide in what format, resulution and frame rate I should take the safari video. Iam particular checking for "jumps" in fast movements, i.e. how smooth the video looks and those "steps" in straight lines that I call (perhaps falsly) aliasing. For this I check the Premiere preview of the imported clips. Perhaps its my bad English, so I try to give my workflow:
1) I do short films (20s) with my NEX6 in those 3 settings 1920x1080 PAL, 50p, 50i and 24p. I make sure there is lot of movement and sharp lines do show up. I do one clip at a time.
2) I take out the SD card (64GB 45Mbits/s) after each individual setting and put it into the iMacs SD slot. Also tried to hook up the NEX via USB cable but no difference noticed.
3) I open finder and go to the private folder of the SD card. In each try there is just one AVCHD clip in.
4) In Organizer I choose import from files and folders and click on that private folder. None of the formats will be imported, always a note shows up that its either wrong format or already existing file (I made sure this is not).
5) In Premiere I can import the privat folder via drag and drop directly from the SD in a new project. This way I let premiere decide what project settings to choose. All formats give a warning (codex not available or something, warning is different from the Organizer one) but it does the import anyway in each case. Imported film does look "aliased" with 50i and 25p footage. Project settings for the two read 1080 25i. The imported film does look good with 50p, correct project setting in this case: 1080 50p.
6) In Premiere I can also import via "add media, AVCHD camera". Again I do this in new projects for each of the clips. Also here Premiere decides what setting the clip gets. Import does not produce warnings with either clip format. Nevertheless, imported film does look "aliased" with 50i and also 25p clip. Settings in both cases again are 1080 25i (thus Premiere thinks the 25p clips is a 25i). Also here the clip does look very good with 50p and the project setting is for 50p.
Hope this describes it somewhat better.
brgds
Hardi

How and where can I submit a bug report to Nokia ?

How and where can I submit a bug report to Nokia ? I haven't found any Nokia's webpage where it is explained.

wait for the next nokia beta test program (they usually annouce it on this forum) and enrol
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Getting extra scenes when burning from imovie to dvd using idvd.

I edited a movie using imovie and got it n the sequence I want. Then I burned it to dvd using idvd. However, when I view the dvd, it starts midway through the video, goes to the end, then starts over and shows me the whole video.
The problem is, I don't see the extra part that shows in the beginnning on the dvd on imovie. How do I get rid of that extra stuff if I can't see it on imovie?

I have had the same problem. I spent an hour on the phone with Apple Support and they were absolutely no help at all. They told me to buy Final Cut Pro. The only thing I found that helped was to export the movie using Quick Time as HD as possible (which takes a long time) and then use that in iDVD, so that the version I have for viewing on a TV or whatever doesn't look cheap and lo-res. My old iMac and iMovie 4 was slow, but the quality was much better on finished DVD products of movies or slideshows. It *****.

Better to finish in 50i or 24P?

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