Capturing 24p

I'm trying to capture 24p into FCP 5.1. DVNTSC 24p does not appear as a capture preset. Do I just capture using DV NTSC?
DP

yep, capture as dv ntsc. if you want to remove the pulldown, you use cinema tools to create the .rev files after capture.
there's a ton of info on this topic in this forum and the web. may want to do a search for more info.

Similar Messages

  • Work around for capturing 24p in FCE

    I am working on a clients system its a new Mac Power Book Pro running FCE 4.
    Shot some HD footage at 24p. I have discovered that FCE does not natively capture 24p. Anyone suggest a good work around? trying to capture at 29.97 the footage stuters pixilates and creates copius amounts of un usable files.

    Try using MPEG Streamclip or JES Deinterlacer to convert your frame rate and progressive to interlaced.
    Just be aware that changing the frame rate is not a great thing to do, as you are likely to lose some visual quality, especially since you are in an NTSC country and will have to go to 29.97 or 60i. (If you were in a PAL country you might get away pretty good converting to 25 fps, which means only 1 additional blended frame in each 24. NTSC won't be as clean.)
    You also need to find out exactly how the original video was shot. There are quite a few camcorders that shoot 24p over 30i or 60i, so you may actually have 60i material. It would help a lot to know exactly what make/model camera was used for the source footage.

  • Capturing 24P HDV

    I'm currently trying to capture (using in and out points) 24P footage from the Canon XH-A1s. The capture starts near the specified in point (in the relatively few tests I've done anyway), but rolls past the out point. The longer the clip, the farther it records past the out point. I noticed that the capture window is using 30 fps timecode.
    Is Premiere not able to accurately use in and out points when capturing 24P HDV?

    I don't do HDV, but I have read that this program is better than PPro's HDV module
    HD capture http://strony.aster.pl/paviko/hdvsplit.htm

  • At what setting should you capture 24p Panasonic VariCam footage?

    Hi Everyone,
    I'm very new to DVCPRO HD and have been capturing 24p footage shot on the Panasonic VariCam camera with the capture setting DVCPRO 720p/24, and the duplicate frames have been removed during capture. What is the difference between capturing 24p footage from the VariCam at 720p/24 (23.98fps) versus 720p/60 (59.94fps) in terms of the editing workflow? Are either of these settings preferable? I've heard contradicting stories on this...
    The final output of this project will be to DVD but also 35mm film most likely. Any advice will be appreciated.
    Sadie

    Use the DVCPRO HD 720p 23.98 Easy Setup.
    Advantage? Well, for one it was SHOT that way, so why not capture it. Beside the film look, capturing at 23.98 as opposed to 59.94 means that you use less than HALF the drive space. Less frames means less space used up.
    The final output of this project will be to DVD but also 35mm film most likely.
    Then you definately want 23.98 over 59.94. Film is 24fps...so 23.98 translates nicely.
    Shane

  • Can't capture 24p

    I'm trying to capture 24p footage from two different cameras: Panasonic 100 and Panasonic 200, both from DV Tape with no results: it stops after three or four seconds. I have FCP 5.1.4 and QT 7.4.1. I'm capturing those tapes with a Sony DV camcorder DCR-TRV19. Any ideas?
    Thanks a lot

    24P or 24PA?
    Regardless, you capture at 29.97, not at 24.
    Patrick

  • Can't Batch Capture 24p Footage

    I recently crossgraded to Final Cut 5.1 (now using the most recent version, 5.1.4) and my JVC BR-HD50 deck seems to be having issues when it tries to cue the tape for batch capture in 24 frames. All of the settings on the deck are as they were before, when I could batch capture 30p footage, but I haven't yet been able to batch capture anything shot on 24p. Capture Now works fine but is very tedious when importing a lot of footage.
    Appreciate any suggestions..
    Thanks.
    G5   Mac OS X (10.4.9)  

    Well.... NEXT TIME you'll know to always have adequate pre-roll on your footage.
    THIS TIME, first, change the inpoint on the batch capture that contains the offending portion to a place where you can reliable capture the clip you need. Then do a capture now of the head of the tape up until the new in point of that clip. Be sure to give yourself adequate overlap so you don't lose any frames.
    Does that make sense?

  • Capturing 24p Video from Panasonic DVX-100

    I shot some material on the 24p mode of the Panasonic DVX-100a. I want to capture it as progressive Video because it's for The web. In The Final Cut capture settings, there is a setting for advanced pulldown removal. But not for The regular 24p mode. I dont even care about The frame rate, but i need This footage to be proggressive so I won't get the interlaced defect!

    In the USE area of the Easy Setup, choose Cinema Tools 23.98 from DV-NTSC. That will remove standard 3:2 pulldown (which is 24p). You would only use the Advanced Pulldown removal if you had shot 24pA (the A standing for Advanced). Be aware that you will still have 6 interlaced frames in your video.
    You no longer have to actually launch Cinema Tools to do this. You can do it from within FCP for about 2 or 3 versions now.
    Message was edited by: RedTruck

  • Capturing 24p from XL2

    Hello folks,
    I have some tapes that were shot on a canon xl2 in 24p mode. i assumed initially that i would need to capture using the advanced pulldown. when i did this the footage came in still at 29.97. just to see what happened i also captured using the dv/ntsc 24 fps method, and the footage comes in at 24 but i'm scared that its not really doing it correctly. i've read a couple things that seem conflicting; one says you capture at 29.97 and render in a 24 timeline and then you're okay, i've also been told the 29.97 isnt really 24p and that i'm better off just using it at 29.97, which sounds dumb to me.
    has anyone got some experience with this particular deal and could offer some input? thanks. so its clear also, this footage is not so much for the image, the camera was used to plug into an audio board for a concert so its image is less important than making sure playback is exact for the audio.
    thanks

    ive never done this, so just to clarify i'll look for repeated frames and then count the pattern, right?
    could i also just quickly apply the reverse telecine for each option to the footage and then scroll through them after they're done to see which looks better? it seems easier than counting the repeated frames, plus at this point i'm not sure which option applies to which cadence....though i'm sure i could find it online somewhere. thanks for your help.

  • Capturing 24p over firewire

    I have a friend that uses a Panasonic DVX100B to shoot a play at 24p. I stick the tape in a Mini-DV deck to capture over firewire. I get 720X480 29.97 fps interlaced. Is there a way to get the original 24p over firewire into PP CS4 and, for that matter, CS3??? It makes for interesting transformations at times.
    Dick

    You're welcome.
    You will also find links to many
    free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
    Happy editing.
    Cheers
    Eddie
    PremiereProPedia   (
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  • Capturing 24p with non 24p camera

    Ive been having lots of capture problems, i know this, so please be patient. So i shot my footage on 24p but am capturing with a cheaper camera so I don't wear down my heads. But when I capture it, it imports it not as 24p, my easy setting is in 24p. The other thing that tipped me off is whenever i brought a clip into the timeline, it needed to be rendered. I then switched my easy setting to dv-ntsc, and opened a new sequence. Then, when I brought in the same clip, not recaptured, it did not need to be rendered. Im wondering if this is due to the camera Im using to import. Thanks.
    Powerbook g4   Mac OS X (10.4.2)  

    24p and 24 pa are two distinct beasties. 24p is actually recorded at 29.97 and you just import it as regular dv.
    You are using a 24pa easy set up; hence your confusion. Search the forum, plenty of reading on this.

  • Capturing 24P from DVX100a

    Hello all, a Rookie here,
    I shot a feature in 24P Advanced (DVX100a). I am capturing using the advice on that "kenstone" page that shows up a lot in these threads.
    Checking my footage, some of it looks a little off, timing-wise between clips. I checked the "item properties" of the clip and found that the "Format" is listed at 29.97fps. Is this correct, or should it read 23.98?
    Again, my capture setting are for "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal". Does "pulldown removal" in fact mean that it is capturing at 29.97?
    Either way, the timeline is set at 24P, so I should be fine, I just didn't want to capture a ton of stuff and find out later that it's worthless.
    I should also not that I am "Capturing Now" b/c of timecode problems.
    So, I guess the question is "How am I doing?"

    Cookman, you're hilarious,
    So, I forgot to mention that because of timecode problems, I had to capture as an "uncontrallable device", so I should be able to set that device up to capture at 23.98 in the preferences, right? That should fix it.
    Also, I am noticing that the computer is ignoring my "anamorphic" checkboxes. All my stuff is getting read as 4:3, even though I set the preferences to anamorphic. Any suggestions?
    Thanks.

  • 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

  • Capturing 24p from Canon xl2 help please

    Hi everyone, just looking for some help here. I should have known better abotu all this 24p stuff but want to make sure I get it right. K, I shot some footage on my XL2 at 24p and 2:3. Isn't 2:3:3:2 or Advanced mode only for if you shoot something that you are going to transfer to film. If you weren't to transfer would it have any benefits in the digital world???
    Anyways, as for me, I just shot 24p standard. I capture as just DV NTSC 48 KHZ. However, I never thought of going through the easy setup and saw there was a 24p setting. However doesn't that one still just capture at 29.97. Anyways, so my timeline is set at 29.97, is this right or should it be at 24/23.98.
    Also, can anyone tell me if a guy should ever play around with the feild dominance stuff. I have never but was just wondering if someone can shed a bit of light on that. Thanks.
    Nathan

    24p (3:2) already HAS a pulldown on it. Pulldown refers to the process of adding frames by pulling down half the field of one frame and other half of fields from the next frame adding a NEW frame. So, just to keep you straight... you need to REMOVE the pulldown, cadence or pulldown cadence (all the same.)
    WARNING... 1) don't attempt if you are short of time 2) have the fear of failing 3) don't have your original material 4) don't have a FULL case of beer 5) NEED this project done right! 6) any number of things I forgot!!
    SO... if you've already edited some of this there is no good way to convert what is already edited into a 23.98 sequence. So you'd have to start again.
    IF you choose to proceed...
    Copy and duplicate all of the material you captured just incase you mess something up.
    Open Cinema Tools
    Cancel out of the first (database) dialog box
    File - Open... first clip
    This will open a box with your video in it. Toggle thru the video. You'll see PPCCP (progressive/combined (combined frames will look interlaced)) for every 5 frames. The first C-frame is the BC combination of fields. You'll need to park your playhead on the first of the two C-frames in a group. Then, when you reverse telecine you'll mark the BC option and hit go.
    Try it once and see if it works for you. You'll get the new movie open and as you frame thru each frame you shouldn't see any C-frames... they will all be progressive.
    Now... open a new FCP project and import those reverse-telecined clips and start editing in 23.98 timeline/sequence.
    If you ran into a problem, just duplicate the original clip back again and try again. I may have missed an important step... doing it off the top of my head.
    As for shooting 24pA now... well... as I stated before... this can be less stable. The cadence is harder to add for the camera and any ANY oddity in shooting will throw off the cadence and give you a HUGE headache trying to capture it.
    Don't EVER turn off your camera while recording
    Don't EVER review your material and then continue shooting
    Don't EVER change any setup on your camera at ANY time that might switch it to 24p even for a second
    Don't EVER take the tape out.
    That said you shouldn't have any problems!! Use the DV/NTSC 2:3:3:2 Cadence Removal preset for capture and your clips will indeed be 23.98 in the browser.
    Good luck... don't panic.
    CaptM

  • Capturing 24p, and have to render every clip.

    Hi all. Thanks for your time. After reading all the 24p articles in here, I thought I had it straight: I shot 24p normal (16:9) on an xl2, and captured it on FCP 4.5 using the "DV NTSC 48 kHz Anamorphic" setting for Capture as well as for the Sequence Preset. However, I still have to render (red line) ever time I bring a clip into the timeline! What am I doing wrong?? Please someone help, and thank you for your time.

    You shooting in PAL land? You have a PAL camera????
    Stating the obvious, but thought I'd get that out of the way...
    Do us a favor... find the item properties window for the CAPTURED clips and read it down for us.
    Then... Apple-Zero the sequence you've created and read down THOSE settings.
    Thanks,
    CaptM

  • How to Capture 24p HD

    What setting and how can i capture and edit 24p HD in Final Cut Pro?

    Dear Shane
    Don't get mad at me. The reason I was doubtful of what the JVC people told me is because three days ago they assured me that Final Cut Studio 5.1 supports hd footage shot in 24p with my camera (JVC GY HD100U for those who are reading just now) and today they apologized, saying that it is not so.
    Regarding the rest of the info you are giving me, I thank you, and appreciate it.
    It is comforting to know that the passage from hd 720 24p to hd hd 720 60 p will not be noticeable.
    For me, what is now scary is that I have to buy this deck (about 3 grand), the Kona card (about 1,6 grand) and how the heck am I also going to get a more powerful computer to do the capturing/editing work?
    Have you heard of a software called hdv.xdv? A friend told me to check it out to capture my footage (I cannot do it yet, because I am waiting to get my JVC back from LA where I sent it for free-upgrading..)
    I hope our exchange adds to the wealth of info and knowledge on how to handle hd footage shot with the JVC GY HD100 camera (a very uncomfortable place to be right now...!).
    Best
    Cecio

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