DVX100'a, 24p Advanced, Multiple Editors, Etc.

I've tried delaying posting here as long as possible to do research, but if there's ever a time I need to be sure I've got things set up correctly, this is it (I can also post somewhat safely *crossed fingers* during this New Years cease fire):
I've been asked to assist in editing a feature-length (hopefully) documentary (more info here: http://www.dariusgoeswest.com/). The footage has already been shot on two DVX100a's. It was shot in 24 frame advanced mode. The director plans to print this to film at the end of this entire process, and wants to be sure the settings in FCP will allow this at the end of the project. Here's where I come in. If I use the settings suggested in this article for 24 frame advanced footage:
http://www.kenstone.net/fcphomepage/24p_in_FCPnattress.html
is there anything else I need to alter about the timeline or the project to ensure it can eventually make it to film?
The project will likely be edited on FCP 5 on both my PowerMac G5 and an iMac G5. This is where my second question comes in:
The director has an iMac G5 at his home, and I have this PowerMac at my house. We'd like, if possible, to be able to "trade" the project back and forth between our two computers during the editing process and edit on our own machines. We have one 500 gig external hard drive and the budget for a few more if needed. What would be the best way to transfer/transport the project between our two computers safely (i.e. with a backup)?
If this is a RTFM type question, please feel free to tell me so I'm slightly overwhelmed because I've never done anything like this, so any suggestions/advice/warnings are appreciated.
If I've left any essential information out, I will try to find out as soon as possible.
Most gratefully,
JC

What would be the best way to transfer/transport the project between our two computers safely (i.e. with a backup)?
Uncle Gru... err, I mean, Jim, has got you on the right path. I'll second the notion of duplicating your media so that it exists on both your external hard drives.
The only suggestion I really have to add is that you digitize/import all media - especially non-timecode material - so that you can prevent file names from getting out of hand and/or captures from being off sync. You can then provide your director with said content on DVD-Rs or copy them over from your firewire drive.
The other thing to read up on is EDLs and, if you want to use Cinema Tools, Change Lists. Perhaps more suited to a straightforward 2 person workflow, though, is the use of XML Import/Export. In particular, once your media is set on both systems, you can simply email XMLs of your sequence(s) to each other [though it's probably a good idea to zip your file before attaching to email]
Good luck.

Similar Messages

  • 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

  • 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.
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  • 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...
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  • 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.

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  • 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?
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    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 on P2/Hard Drive - First Timer Questions

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    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.
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    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?)
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    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.
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  • 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 advanced capture issue

    hi, folks...
    posing an old question that was never completely resolved because i've bumped up against it again.
    here's the situation: i've shot and edited hours of footage at 24p advanced on a canon xl2. captured using 2:3:3:2 advanced pulldown removal without problems-- edited nicely into sequence.
    but somewhere along the line something happened. now when i capture 24p footage and edit into the timeline i get motion blur every fourth frame (the pulldown frame?) the only way i can get a clean clip is if i capture 23.98 footage using the DV NTSC (30 fps) setting rather than 2:3:3:2 pulldown, then use the "advanced pulldown removal" feature from the tool bar after the fact (thanks patrick for this work-around).
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    btw: checked the camera set-up again -- still 24p advanced, triple checked my fcp capture and sequence settings-- it's all at 2:3:3:2 pulldown removal and 23.98 as it should be. clip analysis on captured clips shows frame rate coming in at 23.98... as it should. couldn't find anything on topic in the search. appreciate thoughts. thanks much.

    have you changed or downloaded anything at all that
    might force the change in procedure, like a quicktime
    update perchance, ipod update maybe???? just fishing
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    thanks, zeb... but no. i do remember the day things went haywire-- i captured footage off one of the reels and noticed two of five clips had captured at 29.97 instead of 23.98. it was puzzling but i went back through capture presets, sequence, etc and remember double checking and resetting all the pertinent settings before going back and recapturing the footage that had come in a 29.97. it then captured at 23.98-- but the every-fourth-frame motion blur issue cropped up at that point. and it's been happening ever since.
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  • 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!
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    Alexander

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  • Does anyone have experience with having multiple editors work on the same project from different computers?

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  • Determining 24p vs 24p advanced footage

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    to be clearer: I am going to edit my project in a 23.98 timeline.
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    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
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