DVX100 24p advanced, or not?

I shot several tapes in 24p advanced mode using a dvx100 and imported all of them into FCP using 2:3:3:2 advanced pulldown. When I began editing them into the timeline, all clips needed rendering. What did I do? I tried using the "Remove Advanced Pulldown" tool but FCP did not detect any pulldown needed in these clips. However, these same clips being edited into a normal 48khz timeline don't need any rendering. Please help!

What that means is that it still captures it as 24P, but doesn't pass on the flags necessary for FCP to detect and remove the pulldown. I think Graeme Nattress makes software that will remove 24PA pulldown without the flags, but I am not certain...
Patrick

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Dvx100 24p advanced footage needs rendering?

I have footage captured from a DVX100 as 24p advanced into FCP. I used 2:3:3:2 pulldown to capture it. Now I'm editing on a 23.98 timeline but final edit needs to be rendered in that timeline despite the fact that I don't have any filters. However, in a regualr 48khz timeline, it needs no rendering. Can anyone help?

I would wager if you look at the footage, the pulldown has not been pulled out and the clip is still at 29.97. There is probably some break in the cadence and the pulldown was left in. You can try Remove Advanced Pulldown from the menu on the clip and see what happens...
Patrick

Editing in 24p, not 24p advanced

I shot a feature with a Panasonic AG-DVX100A and used the standard 24p setting instead of 24p advanced, not realizing that the latter would be preferable for editing. Is there a way to avoid the flicker and jitter that seems to accompany 24p footage in Final Cut Pro? What settings should I use when capturing the footage to get the best results?

I have a follow up question to these postings. I shot in 24p (not advanced) and am capturing footage into final cut 5 under the NTSC easy set up at 29.97. I am seeing weird lines during movement in the shots.
I've tried changing the settings to 24p (no easy set up option) and cannot get the problem to go away. I don't want to capture all my footage this way and the final output to have the problem.

Anamophic Adapter & 24P Advanced

Hi,
I have three questions I need answered before I can go on in my project:
(1) I filmed using my dvx100 with the anamorphic adapter and with the 24p advanced pulldown mode. I went to capture the footage in FCP5 and found that there was an either/or setting for each, but not one that included both. I am sure that this is a common enough setup, there must be a way to have both. What am I missing?
(2) Should the sequence and project settings be set to 23.96 or 24?
(3) If I already went and set a bunch of clips for a future batch-capture, once I figure the first question, will it capture the old ones at the new settings, or do I have to go back and reset the clips?
I appreciate your help. I am at a standstill until I figure this out.
Seth
BTW (in my opinion) The new Apple ads of bragging about no viruses is a well-known fact among mac users who spread "the word" whenever they get the chance, I think that turning it into a international calling-card, is only asking for trouble from little ego driven virus developers.

OK, I think you've managed to confuse me too. But, if I can guess at what's got you tied up...
In shooting 24P Advanced, the tape speed is actually 29.97. The camera adds pulldown in such a manner - Advanced Pulldown - that FCP can strip out the extraneous frames without the need for Cinema Tools. That preset is the DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal and it produces a 23.98 file in your Browser. But not an anamorphic file.
My suggestion (in Audio/Video Settings) would be to duplicate the DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal preset, check the box at the top for Anamorphic 16:9 and name the preset appropriately. Then use that in your Easy Setup.
Or has that not worked for you?

24p advanced footage needs rendering?

I shot footage in 24p advanced and imported into FCP using 2:3:3:2 pulldown. I then began editing in a 23.98 timeline and discovered that all clips I put there need rendering. I then changed the timeline to 48Khz (not 23.98 or 24p) and the clips don't need rendering anymore. I'm positive I shot in 24pa, especially because I see the stuttering when I panned during the shooting/recording stage. Even the screen on the DVX100 indicated 24pa. What am I doing wrong?

Sometimes I have a similar problem. I shoot advanced 24p on my XL-2 and capture using the pulldown removal setting on FCP -- but when I get there the footage needs render. Honestly -- I would try just re-capturing and making sure all the settings are correct. Before I do anything in my project file I always change the EASY SETUP to universal Pulldown Removal settings. That way, I'm positive it will be capturing into the correct timeline setups, etc.

24P Advanced - Audio/Video Synch Problem on Capture

I shot some footage in 24P advanced. When I capture into FCP4 (settings are 23.98 timecode, 2:3:3:2 pulldown removal), the video and audio become out of synch (in the canvass -- I haven't bothered dragging anything to the timeline yet).
I shot with a Canon XL2 and am importing with a Canon GL2. I usually shoot with a Panasonic AG-DVX100 (and import with a Panasonic) and never had this problem before. I'm in a bit of a time crunch, so I'm starting to get very nervous.
I used "capture now," not log & capture.
Any ideas? Thank you very much.

Was the camera set at 24p 2:3:3:2, or just 24p 2:3. If it was set to 2:3, your capture settings with easy setup will simply be, DV-NTSC. If it was set to 2:3:3:2 your settings for footage from an XL2 should be Easy Setup - DV-NTSC (23.98) Advanced Pulldown Removal, and you capture setting will be changed to DV NTSC 48 kHz Avanced 2:3:3:2 pulldown removal. This captures at 29.97 (DV NTSC) and puts your footage into a 24p timeline.
I'm suspecting that your camera wasn't set to 2:3:3:2 because that is not a default setting. Which is fine for playback on a TV, but not optimal for playback to film.

24p Advance Capture Question? Problem?

Hi I have a lot of material for a feature film shoot on a DVX100 in 24p Advance using a 16:9 anamorphic converter lens. I am Using FCP6 and I am capturing with a custom preset to be able to capture in 16:9 with the Remove Pulldown option cheked to edit in 24p (I will eventually transfer to film) The weird thing or problem that I am having is that most of the clips shows up as 23.98 as it should be But some times I get some clips in 29.97!!!! The camera Setting was never changed in Production!!! it always stayed in F6 the 24p Advance setting!!! I then tried the remove Pulldown options in Tools menu but I ended up with a clip with interlace fields!!!! very Weird!! So I thought that the tape was shoot in regular 24p, but I made a test shoot in regular 24p and then tried to remove the Pulldown via the Tools menu option but It won't let me because it was NOT shoot in 24pA!!! Si I have a Bunch of clips in 29.97 That I KNOW I shoot in 24pA but for some reason when I capture it doesn't remove the Fields and When I tried to remove it after capture I ended up with a interlace clip!!! Does anybody know id theres a Bug with this Workflow!! The camera is the DVX100 not the DVX100A or DVX100B. I used Cinema tools to convert the footage and it did it fine, But I want to avoid using Cinema Tools because it adds more time to the production!!! Can anyone have a clue? Thanks in advance!!!

I've been working with 24PA footage from a DVX-100A and an HVX-200 for three years now. I do find it tricky to get the Advanced Pulldown Removal to work properly during digitizing.
Now, the following advice relates ONLY to footage shot in the 24P Advanced mode. I have never worked with footage shot 24P "regular pulldown." I think you're supposed to just capture and work with that footage in 29.97 mode, enjoying the 24p "look" but not a true 23.98 frame rate.
Any little interruption - the camera stops for more than 15 minutes being the most common - will break the cadence of the 24p pulldown. So you have to break up your tape into clips which don't cross these "cadence breaks."
Also, some VTRs and cameras seem to work better than others. There's not always rhyme or reason to this (more expensive may not equal better performance.) For example, right now, I have some footage which my Sony DSR-11 deck was choking on but my friend's Sony FX-1 camera plays back for capture just fine.
My method is to rewind my shoot tapes to the begining, hit "play" then "Capture now."
FCP captures the whole tape, breaking up into clips, sometimes at inexplicable but always consistent places.
Usually, the last clip captured will be at 29.97 frame rate. The 24p "look" is still present in the footage, but obviously if you cut it into a 23.98 fps sequence, you'll have to render - a very annoying waste of time.
I observe the in and out points of any 29.97 clips, and capture new clips based on them. For example, if I get:
TAPE 001 TC IN 1:00:32:19 TC OUT 1:29:57:22 RATE 29.97
I make a new clip and capture it (batch capture if you like):
TAPE 001 TC IN 1:00:35:00 TC OUT 1:29:55:00 RATE 23.98.
The bottom line, though, is the more suitable your equipment, the better results you'll get.
Good luck. I hope this helps.

Determining 24p vs 24p advanced footage

Is there a foolproof way to figure out if your footage was shot at 24p standard or 24p advanced?
thanks

to be clearer: I am going to edit my project in a 23.98 timeline.
Ok... then we need to make sure the footage is converted properly to 23.98 because once it's on tape REGARDLESS of what you shot -- it WILL be 29.98.
I have brought in some of the footage that I shot at standard 24p/ F5 via the DV-NTSC easy set-up, and made a 29.97 test sequence in the "project" that I put that footage in. I have not as yet converted any of that standard 24p footage as yet via Cinema Tools, but when I do it is my understanding that I'll be able to then use the footage in the 23.98 timeline
Correct.
The footage that I have written down as being shot at 24p ADV/ F6 was captured using the 3:2 pulldown removal into a separate "project." I made a test sequence with a 23.98 timeline.
I'm getting the picture...
What's happening is that I'm getting those red "needs rendering" lines when I move clips into the sequences (again, as a test) but not where I would expect them. For example, one clip of 24p advanced footage I brought in using the 3:2 pulldown, with the sequence set at 23.98, is nevertheless showing a red render bar above it. baffled.
Hope this is a mistake... there isn't a set up to remove 3.2... only 2.3.3.2. And, yes -- captured material with the advanced cadence removed via FCP on capture WILL show a TC Rate of 30 fps... so :29 to :00. And yes, there will be 'frames' missing.
Now... why are you getting render lines?? Make sure indeed that you are working with a DV NTSC 48k sequence with anamorphic selected. Apple-Zero the sequence in the browser to MAKE SURE the settings are correct.
Also -- check the item properties for the captured material.
email me offline if you get too confused. Might be easier to walk thru it on iChat.
CaptM

24p Advanced problems

Hi there. If anyone who can help me with this issue I would greatly appreciate it.
Ok so I am using a Panasonic DVX100a and shot a bunch of footage. I shot it in 24p advanced. I'm using Adobe Premiere CS4 and captured the footage via firewire into a DV 24p sequence. I'm able to edit it fine but am having sever problems with the picture quality. here's what's going on:
1. My first issue is that everywhere I've looked online, everyone says you need to interpret footage and remove 24p pulldown BEFORE you drag clips to the timeline, otherwise it's too late. BUT, I started editing my footage and only after a few hours found out I needed to interpret the footage and remove pulldown. So I did this to the captured footage, and it effected the clips in my timeline, contradictory to what everyone has said about how you must do it before putting clips onto the timeline. Not a big deal, but I'm just wondering why it did this (maybe I have an update other people don't have?)
2. I did a render test to see exactly what removing the 24p pulldown was doing and when I played the rendered clip back on Windows Media Player and VLC, with the 24p pulldown removed I have horrible interlacing, but with it NOT removed I have no interlacing but do have jittery footage. I understand that 24p will be jittery but this looks REALLY jittery. Again, this seems backwards to what I've read about how you need to remove pulldown in order to remove interlacing.
3. With 24p pulldown not removed, I render the file as an MPEG with everything turned up - bitrate and quality. I set the frame rate to 24. When I play it back on VLC it looks decent but not very good. I ultimately want to upload this footage to Youtube so I want it to look nice but I understand it might not look phenominal. Is there a recommended render setting I should use?
I maybe screwed myself by shooting in 24p advanced but instead of blowing it off and just shoting 30i next time I really want to learn the specifics of 24p advanced so I can use it properly in future projects. If anyone knows the answer to these problems, I would be grateful to hear them. Thanks.

I *kinda* solved my problem. Not really. I went through my footage, frame by frame, and when it's interlaced, only the 4th frame is interlaced. the other 3 frames are progressive frames. This is in 24pa. Anyways, when i captured my footage, I captured one long file. I then chopped the long file into small "scenes" to move around the timeline. What''s wierd is that if I interpret footage to my one long, captured file and remove 24p pulldown, ir removes the interlaced frames on some of my scenes and PUTS IN interlaced frames in other scenes. You would think since it's one long, captured file, that by interpretting the footage and removing the 24p pulldown it would effect the all clips evenly. But no, it doesn't. When I don't check the remove pulldown box, then the clips that didn't have interlaced frames now do, and the ones with interlaced frames don't have them anymore. It's wierd - it's like Premiere is automatically removing the pulldown on some parts of my captured video file but not others. Does this make sense? Has anyone else experienced this??

24p Advanced on P2/Hard Drive - First Timer Questions

I'm getting ready to edit a project that is going to be shot on a Panasonic HVX 200- onto 8 gig "P2" cards, downloading them on set to a mini mobile editing system to a Digital Hard drive. The production company is going to send me the hard drive. It will apparently be shot 24p advanced. Normally, everything I've worked on for years has been shot on 35mm or 16mm and transferred to beta or Dbeta for me to edit with. I will not be finishing this project - only offlining, but I have some questions:
I can edit 24p Advanced HD with FCP, correct?
Since It's only going to be on a hard drive, should I transfer it to my CalDigit SATA RAID to edit with?
I use an AJA io SDI box and the new JVC flatpanel HD/SD broadcast monitor. Will I be able to output this on my monitor with this setup?
Anything special to look for when outputting 24p EDLs?
Basically, any advice on workflow with this would be greatly appreciated. I'm an old-school, film and Avid convertee and I hope to make a smooth transition to HD.
MacBook Pro, FCP 5.1, AJA io, Caldigit SVRDuo 1.5TB, Lacie Rugged FW Drive Mac OS X (10.4.8) Other Macs/Editing Systems Owned

The raw P2 files. They're in a folder with the job name. It's listed "Card 1", "Card 2", etc... I'm copying them over as we speak to the RAID.
No no no. STop...stop now. That is NOT what you are supposed to do. You need to import the footage FROM that drive using the P2 IMPORT (or Log and Import...whatever the FCP 6 term for it is)...LEAVE the raw on the Lacie. Importing them converts them to Quicktime files you can edit.
You gotta watch this tutorial before you go ANY further:
http://forums.creativecow.net/cgi-bin/pagewrapper.cgi?forumid=8&page=http://www.creativecow.net/articles/ross_shane/p2workflow/index.html
When I create a Capture Scratch folder, I tend to get several "Capture Scratch" folders inside of that folder (as opposed to having them all in the OMFI folder in the Avid). How do I keep them all organized into one folder (or do I need to do this?)\
Stop thinking in Avid terms now. Get that out of your head.
When you choose the CAPTURE SCRATCH, choose the drive itself. NOT A FOLDER ON THAT DRIVE. This way you'll have all the right folders on the base level of the drive.
How do I keep them all organized into one folder (or do I need to do this?)
Click on Underdog to get to my blog...then click on the DVD on the right hand side. This is my tutorial DVD on how to organize yourself in FCP. FCP does things VERY differently from an Avid, and if you take the Avid approach you'll get lost and burried, FAST. Buy this DVD (shameful plug) and watch it. But watch that tutorial first.
Again, this will be conformed elsewhere, but hopefully, my EDL and ref tape will do the trick.
Get this figured out now. Talk to who is finishing it because this workflow is VERY different from a tape based one. There is no offline, you are cutting at full resolution. There is no conform, as there will be no recapturing of the footage. It is unnecessary. They need to talk to the finishing house now and get this figured out before you do something you shouldn't.
Shane

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..)

24p Advanced- Highest Quality Output

Hi,
I shot DV footage with a DVX-100 using the 24p advanced mode. I was wondering how to extract the highest possible quality out of that footage for eventual HDcam uprez or even film output. I realize that all tape formats have some sort of compression, but on hard drives what is the best workflow to extract the highest possibly quality? Is it possible to do a hardware SDI uprez? Because I believe that SDI does not properly understand the flags for advanced pulldown removal which results in timecode ****. Only firewire can recognize those flags. Any info would be much appreciated!
Thanks,
Alexander

Rule: You cannot do better than capture it natively. Whatever format it is.
You'll want to remove that pulldown during capture if you are really printing it to film.
If you want to work in better than what you shot for graphics reasons etc... put it in a pro res sequence setting. you'll upconvert all to 4:2:2.
Capturing it as uncompressed, you could do that without much or any harm, however I won't look any better than what I've just suggested. You'll eventually have to render it all in the end. And a faster mac helps there.
Uncompressed files will be larger of course. Hardware conversion though may be best if you're really pernickity. However few if any will see much difference. Color correction is far more important.
I'd work in native DV until the end then copy/paste the clips into a pro res sequence once graphics and CC or Grading correction begins.
Jerry

24p Advanced project

I'm trying to transcode a quicktime .mov file for use in Encore 2.0. It is a 23.976fps 24pA (advanced) clip that is almost 6 minutes. The footage was shot on a Pansonic DVX100B.
Every time I try to transcode the asset upon import, my program freezes up and I can't accomplish what I want to accomplish. I have already imported and transcoded a 24pN (normal) clip without any problems.
Can someone please advise me on how they transcode their 24pA clips?
I'm working on a PC, Encore 2.0, Avid DV XPress Pro NLE. Thanks.

I got my .mov file to come in. It just took longer than standard 60i NTSC.
Here is my new problem. I'm using Advanced pulldown, 2:3:3:2 pulldown on my project because I shot 24p Advanced. On the timeline in Avid, my footage looks incredible. I love it.
When I transcode in Encore 2.0 so I can create me DVD, I get the flicker back as if I never did the pulldown in Avid.
Does anyone have any advice about this? Does anyone have a way for Encore to handle my 24p Advance project? I've tried NTSC and non-NTSC transcode settings but I can't get rid of the flicker.
What transcoded settings do people use to maintain the look and feel of the clip when it was only in the Avid and the advanced pulldown made everything look great?

24P advanced converted to 30P

I've been shooting a bunch of material in 30P, but, by mistake, shot some yesterday in 24P advanced mode. How do you convert the 24Pa material to be compatible with the 30P material.
Thank you!

You'll have to remove the Advanced Pulldown (easiest on capture). Then add back a normal 3:2 to get it back to 30fps. The only way to do this I know of with the basic Final Cut Studio tools is to send it back to DV tape from a 23.98 timeline. FCP will then add in a pulldown. You can re-capture that footage then with a normal 3:2 and use it along with your other 30p material.
It's all digital in/out, so no generational loss...
Patrick

24P Advanced

I am new to working with 24P Advanced. Could someone suggest how to set up FCP in order optimize capturing the footage from my Sony DSR11 mini-dv deck? Just the setting on FCP should be enough to get me started. I appreciate it.
The Best,
Seth

Seth -- Your DVX has a mode called SQUEEZE. This, like Shane says, is a fake anamorphic.
You'll need to tell FCP that this is the way you shot so it will 'fix' the video and make it look 16:9... hence the anamorphic check box. Otherwise everyone will look tall and skinny.
You should spend some time over at http://www.dvxuser.com to get a better feel of your camera. The whole site is dedicated to the DVX and it's joys and sorrows.
CaptM

DVX100 24p advanced, or not?

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