FCP5 and 24p

Hello,
I just got on board this project. I'm basically trying to make the process of editing it smoother than what it has been up tuntil now.
They shot in 24p. I don't know if it was advanced or standard. They are about to start editing with Final Cut Pro 5.
The output will be a 24p DV and maybe even film (as somebody is offering it for free -- of course no tests were run beforehand, they just forged ahead)
Here are my questions:
(A) - How do I find out what 24p they shot in? I read somewhere on this forum that one would need to take a look at the frame rate. But what's the difference between the frame rate of 24p advanced and 24p standard?
(B) - Which setting should the editor use to capture the 24p Standard footage, considering that we are going for a 24p DVD output?
(C) - Would the editor be right to use the "DV-NTSC 24p (23.98) Advanced Pulldown Removal" setting to capture the 24p Advanced footage?
(D) - What do people mean by "24p DVD" output? Is it simply to burn a 24 final cut on a DVD? Or does it require more work than that? (We have the DVD authoring software that comes with the Final Cut Studio package)
Thank you much for the help.
Alex

What a goldmine this thread was to me this week! I had almost an identical situation arise. 24p 16:9 that the client wanted burned to DVD.
The media was on MiniDV 1hr26min. of footage. He also wanted to keep it at 23.98 for the DVD vs. 29.97
After careful reading of this thread and a couple of others to get some real-world working knowledge of 24p and the workflow, off to burn I went!
A couple of important things came to mind. Fisrt it was really a lifesaver to visit http://www.jkor.com/peter/24editing.html before starting.
By reading that site I found out that my MiniDV deck JVC BR-600UA would not allow you to use the Easy Setup for Advanced Pulldown. That was a touchy subject for me, because I had already commited to the job. A quick call to the client to ask about camera settings during the shoot eased my mind. He had not used Advanced Pulldown.
Now it was just a matter of capturing and running Cinema Tools to remove the pulldown. Well almost...
Since the project was ws on 2 tapes and had minimal editing, I simply made 2 captures. The issue was that Cap1, was 60min long and the file was to large for Cinema Tools to handle.
The shorter Cap2 was no problem. After breaking the first Cap into two smaller clips, it went like butter. Lesson learned:)
Next came Compressor for the MPEG files and finally DVDSP, in which I got another surprise. This project was going to require a Dual Layer disc.
Somehow I missed the part in the manual where it talks about establishing a break-point marker in your timeline. Lesson learned
Bottom line... Project is complete 2 days ahead of schedule and works perfectly.
Thank you to all who contribute here. The 1 hour of research saved me at least 3 days of headaches, and certainly would have created quite a different post here in this forum from me on this subject.
LOL!
G5 Dual 2.7 Mac OS X (10.4)
G5 Dual 2.7 Mac OS X (10.4.2)
G5 Dual 2.7 Mac OS X (10.4.2)

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Working with 30p and 24p in premiere

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I have two shoot days for a short video I am making. The first day I shot an entire interview and tons of broll in 30fps. I have another day of shooting and was wondering what my best option would be: Either to keep shooting the rest in 30p and then putting all 30p footage on a 24p timeline? Or, finish my next shoot day with 24p (having both 30p and 24p footage) and then putting the mix footage on a 24 timeline? Or, is there too much quality now that will be lost, if I take 30p to 24p?
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My ultimate goal is to have a cinematic look and feel.
Then shoot in 24 fps.
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See this thread in After Effects Forum.

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Look, you really need to wrap your head around 24p, 30p, 24pA and 30i.
Interlace is not an ugly issue. It is a benefit. Interlacing normal on broadcast television. Your TV scans down and back up for each frame... alternating lines. When you shoot 24p on the DVX it puts it to tape where for every 3 frames of progressive it combines FOUR frames to give you TWO additional combined (interlaced) frames. So.. there are 6 sets of 5 frames per 1 second giving you 30 frames per second. If you take those 3 progressive frames by themselves 3x6 is 24 frames per second.
You OBVIOUSLY want to final out to 29.97 or 30 fps so you'll need those extra 2x6 frames to get you to 30!! If you wanted to final out to 29.97 AND you wanted progressive frames for EVERY frame you should have shot 30p mode.
Now... when are they ugly? When you are standing still on a frame. When are they unnecessary? When you plan to show them on a computer or progressive monitor. Remember, even when shooting progressive and playing it on a TV you will STILL have the TV doing interlaced scans... the only difference is the down scan is taken from the same point in time as the up scan.
Plus... you don't capture TO a sequence... you capture the video and edit it IN a sequence. You can still capture the footage in 24p at 29.97 and remove those 2x6 extra frames and edit in a 23.98 sequence.
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CaptM

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So the 27.97p is really 60i, and FCP does not care what it was shot in?
It does. It was shot 1080i60, with a film-like cadence. It wasn't shot 23.98. FCP imported it exactly how it was shot. Read that snippet I posted again...it says this plain as day.
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Really? Well, do you see a render bar above the footage in the timeline? If so...then the clip settings and sequence settings don't match.
Im assuming that a reverse-telecine took place?
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glynn,
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I shot some footage on a Canon xl2 in 16:9 and in 24p.
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***Final Cut Pro and 24p/60p Footage

Hi.
I'm working on a short project where most of the footage is 720/24p. We have some B-roll that's 720/60p. We definitely want to use this footage. I'm familiar with conforming it to 24p in Cinema Tools and having nice slow motion, but I don't want that. I just want to mix the footage in at regular speed as best as possible. Right now, I just dropped it into the timeline as is, rendered, and I guess it looks okay. I'm assuming FCP is just taking out frames.
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Thank you!

Open up Compressor drop in the material and create a preset to that uses Frame Controls to conform the 60p to 24p. You'll want the output to be in your editing codec (ProRes?). You do not need to resized the image.
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