Film workflow with 24p footage: nightmare

Hoping someone can give advice on a disaster i'm experience as I cut a film I'm working on, the sequel to this-
http://www.youtube.com/watch?v=GpuEMSH6zB4
I shot the film in straight-up 24p. When capturing the footage at 24p, we experience a quality loss. At 29.97, there is no quality loss. This makes no sense.
Also, when I get my 24p footage, captured at 29.97, into a 29.97 timeline, and then resder it out at 29.97, there is a quality loss.
Also, my ability to have moving video not only in the FCP viewer window, but also through the camera out to a TV, comes and goes. It will freeze or unfreeze depending on some thing having to do i think with the framerate of either the clip or the sequence.
It's blowing my mind. I did not experience this problem on the last flick, and I shot it the same way. Is my FCP damaged? Is there a tutorial out there to guide through this problem, or have any of you experienced it?
Any info would be greatly appreciated.

24P runs at 29.97. 24PA is what you shoot if you want to work at 23.98. If you shot 24P, then you work at 29.97.
You capture as normal 29.97 DV footage, edit at 29.97, output at 29.97. You use no pulldown.
Shane

Similar Messages

BLURRY images when I Modify speed in 29.97 timeline with 24p footage

I am modifying the speed of a clip - only to 90% - and parts of
the clip appear blurry after I render.
Any ideas why? What can I do?
Thank you in advance!

Is it 24p footage with 3:2 pulldown or, just 24p media?
Either way, you're in for a fun time.....
for 24p with 3:2 pulldown, first use Cinema Tools to remove the pulldown. Now, use Cinema Tools to conform it to 2.9.97fps. Now take it into your timeline and adjust the speed.
For 24p media, just conform it in Cinema Tools to 29.97fps, and then pu in your timeline and adjust the speed.
What you're doing is avoiding having FCP convert the 24p to 29.97fps by adding frames, before it gets to the speed change. Similarly, 24p with 3:2 pulldown must have it's pulldown removed before you can do a speed change.
This should make things nicer for you!
Graeme

Firewire 400-800 with 24p footage

I have the new intel macbook pro with firewire 400 and am starting to capture from my v1u 24p HDV, will that be a bottleneck without firewire 800?

HDV, because of its highly compressed nature fits into the same bandwidth as DV, so no... FW400 is not a bottle neck for it...
Patrick

Whats the best workflow with REDCODE Footage?

Hi,
I Go an work on a Red code project. A Music clip shot on the RED ONE. I Was wondering: what is the best way to work with this 4k footage. There are much shoots in 100 frames who i need to ramp. So a fast editing way would be nice...
- Do i need to use the reference quick times from the camera?
- Do i need to trans code al the footage to SD and edit it, then before the compositing relink it to the 4k footage?
What is the best option? This is the first time i work with 4k from the RED ONE.
THANKS!
David Douglas

Well, I'd scan this forum here, for one:
http://www.reduser.net/forum/index.php
#2, don't work with 4K images natively...transcode to another format, like DVCPRO HD or other format and work from those, then conform to 4K when you are done...most likely on another system that can handle them, like SCRATCH.
But that forum is where to look for the answers.
Shane

Canon .mts import 24p footage doesn't work ~

I was excited to see Premier CS5 could import Canon's 24p footage and had project settings ready for it.
I was dissapointed to find out that this function doesn't work. Premier shows my .mts files being 29.97 fps so I'm assuming the camera must inclose the 24p footage inside 29.97 fps container?
Does anyone know a simpe way to open a .mts file in After Effects, interpret the footage to "Guess 2:3 pulldown" open, and save export the file back into Premier?
I can't seem to figure out how to export the interpretted footage from After Effects back into Premier.

Why are you guys going through all of this trouble?
Premiere works fine with 24p footage if you shoot it that way. I use it all the time. XH-A1 has both 24p and 24pn.
One is 24p in a 29.97 wrapper and the other is 23.976 native with flags. Shoot with the one you want and just use the right preset.
Sorry...I didnt realize you left out the camera you were using. If it's ont that doesnt have both modes you will need another software to remove the pulldown.

Best DV deck for capturing Panasonic 24p footage

Hi everyone,
I'm working with 24p footage from Panasonic DVX-100A and HVX-200 cameras. I've always found the tapes tricky to capture with Advanced Pulldown Removal, and now I'm unhappy with my Sony DSR-11 VTR.
I'm finding that some equipment plays nicer with 24p footage than others.
Some of my editing colleagues have suggested that I should use Panasonic equipment - and they do have an equivalent low-end DV deck, the AG-DV2500.
Any suggestions from the field? My budget does not permit buying a full-blown studio DVCam machine, unfortunately.
Joe

I put this question to Larry Jordan, of newsletter fame, and he feels that I'll be better off with a Panasonic VTR - so I'm gonna give that a try.

Panasonic 24p footage - workflow in CS4

Hi there,
Although it’s my first post on this forum I’ve been reading and browsing for answers to my questions before – it’s not the case for me to give advises, not yet at least!!!
But this thread just confuses me a lot and I don’t think I fully understood the previous related discussions I’ve read. So here is my question:
What’s the workflow in Premiere CS4 with DVX100 footage, 24pA (although I also have some 24p Standard – meaning 2:3:2:3 pulldown cadence) to obtain a 24p video with Nooooo interlaced artifacts?
For the 24pA, from what I reasoned myself and read on this forum, I chose the 24p Standard present under DV-24p. Captured the footage and applied the Interpret footage -> Remove 24p DV pulldown. Set the in and out points; dragged it on the timeline of a sequence (24p preset). None of the Source or the Monitor windows show any interlaced artifacts and the timeline shows NO red line above. So it should be a 23.97fps footage, right?
BUT, as soon as exported (in the Microsoft AVI format with, for e.g., the NTSC DV 24p preset) I DO see the video as interlaced in BSplayer, while with Windows Media Player it shows no interlaced artifacts. I thought that my BSplayer is configurated wrong, but, any further compression I apply to this like exported video (a DivX codec, for e.g.), gives me a new video file with interlaced look in BOTH players. I’m loosing my mind – where do I do wrong? Project settings? Export settings?
(the footage was shot on tripod, but with a lot of motion in it - sport! And is designed to be exported for DVD and to be viewed on computer.)
2. How could I mix 24pA footage with 24p Standard footage of the same DVX100? As, for mistake, the 1st day I shot 24p Standard instead of 24pA?
From what I understood the 24p Standard need a 29,97 fps sequence – is it right?
Thank you,
Karmen

It works--I've done it dozens of times with hours of 24p (not 24pA) footage. The 24pA cadence wasn't necessarily designed to make 24p editing possible; it was designed to make 24p editing less taxing for a computer and somewhat higher quality, because a whole "frame" (and I say "frame" in quotes because there are no such things as "frames" in interlaced video) could simply be discarded.
I understand the logic of your thinking, but again, keep in mind that are no such things as frames in interlaced video. Each field is written independently, but we like to think of a video frame as being comprised of a top and bottom (or upper and lower, or odd and even) field because it's easier to comprehend that way. For the most part, this thinking works; that's the whole source of the "is it 30i or 60i?" nomenclature question.
Now, while I'm not too sure about the science or math of it--I try to stay out of the part--I believe the way that DV compression works is to package those two fields together as a "frame", simply for compression purposes. The fields are still independent, and can be recovered as independent entities, but it involves decompression to reverse the DV compression. Once you do that, you have two separate fields, and in the case of 24p, those independent fields can now be reassembled in the proper order to recreate 24 independent progressive frames. It is the 2:3 pulldown cadence that tells the software which fields it needs to use to recreate the independent frames. Of course, it's still DV, so in order for it to be played back properly, there must be a recompression step.
And this is why 24pA was invented. It's still recorded with fields, because it's interlaced DV at its heart, but the 2:3:3:2 cadence allows for the third "frame" of five to simply be ignored: everything the editing software needs to create a 24p stream is already encoded in the DV stream, without any decompression or reassembly needed. Recording using 24pA maintains a somewhat higher quality on those frames that would otherwise have to be reconstructed if the video was recorded with 24p, and there is theoretically less of an impact on computer performance because the decompression/recompression cycle is being avoid (though I doubt that has much bearing on any computer manufactured within the last few years).
I know it seems like voodoo, but that's really how it works (distilled a bit, I suppose!). Check out this article at Adam Wilt's website for more information, as well as some graphics that illustrate what's going on in 24p and 24pA recording.

What is the best way to work with AVCHD 720 24p footage in FCE4.1?

Hi I have a Panasonic HMC-150 and I've been shooting 720 24p footage at 21 mbps transfer rate.
I was wondering what is the best way to work with this material in FCE 4.1? I see that in the easy set up menu they only have the option of 1440X1080i at 50 or 60 fps or 1920X1080i at 50 or 60 fps.
Also in the rates drop down menu there is only 50 or 29.97.
So I was wondering which is the best choice for 720 24p footage and will it look alright in any of them? Also is it possible to customize these settings?
And finally can you work with faster transfer rates (21mbps) in FCE?

Yikes, this is going to be tricky since FCE does not support native 24p editing.
The work around for some of us is that AVCHD material that is 24p is often recorded to disc at 60i using telecine, in which case it can be editing at 29.97 frames per second, and then detelecined afterward for final export at 23.98 fps. The problem is that I think your camera actually records real 24p - not 24p packed into 60i. When you import the material from the camera what does QuickTime report the framerate as?

Just edited 20 film in FCPx all about 6 mins long all on 1 x 250gb flash drive Now i have another 10 to do but have no room on that drive. So i have been using my new 2tb drive to do the next 10 films with the footage on that drive, but i need elements f

Just edited 20 film in FCPx all about 6 mins long all on 1 x 250gb flash drive
Now i have another 10 to do but have no room on that drive.
So i have been using my new 2tb drive to do the next 10 films with the footage on that drive, but i need elements from the first 20 films ie; graphics, common film elements etc to be added to the new 10 films.
So I have copied all the footage, events and project folders from the 20 edited films over to my 2tb drive in a separate folder - ejected the 250gb drive (as i only have 2 thunderbolt slots and one is used for a 27 inch monitor on my macbook pro)
.......my question is how do i load all of the 20 films into my project library so i can see all of the 30 films at once so i can copy and paste form one film to another - is this possible? and withlout messing up lol

// any reason, why you color your post to 'invisible' low contrasted colors?? //
I'm confused:
by concept, there's Events and there's Projects.
Events and Projects can be internal or on any ext. drive.
You can use any Event in any Project.
… so, why is the 'location' of your files on any relevance for your Projects ??
Or, do you want to re-import done-Projects as 'Events'? Export,Import, done… (??)
… sorry, maybe I'm just lost intranslation

Converting 24p to NTSC 30 fps with existing footage already captured

Working on a project that should have come to me downconverted to NTSC 30fps. I already have footage that was shot DVCPro 24p and have started working (selecting) with the footage. We would like to shoot our remaining footage downconverted in-camera to NTSC 30fps.
So - I'm curious if FCP allows you to convert material that's already been captured.
Thanks
G4 Mac OS X (10.4.3)

You'd need to use the Standards Converter from www.nattress.com.
$100 but worth it. It also converters 30 to 24, and PAL to NTSC, and vise versa.
Shane

Workflow Question: 24p (Varicam) Masters, 29.97 down converts for offline

I know in part this question has been raised here before, and I know the Cinema Tools method for getting back to 24p... but I would like to discuss briefly the pending workflow on a project I am about to begin with someone who has tackled this before.
I am cutting a feature, shot on Varicam at 24p. The film has already been rough cut in FCP and I am inheriting the project to re-work the rough cut and "on-line" finish the film. The initial editor did not reverse telecine the clips before cutting, so all the clips and the timeline are in 29.97. I know I could finish the off-line using the DV footage, then reverse telecine the EDL to on-line back to the 24p HD masters, but there are a few other issues.
First, there is over 19 hours of original scenes that currently make up a 2 hr rough cut. This cut needs a pretty extensive re-edit before it's ready for the sound designer to step in, maybe 2-4 weeks of work. The FCP project has not been broken down by scenes, just master clips for each reel (yikes!). I am not confident in the audio that is on these DV tapes and I would prefer to work with the original HD source to finish the job, as the audio editing will fall mostly to me to accomplish. This project will also need extensive color timing as well. From a general workflow standpoint, I feel that if I had all the HD loaded, and re-organized by scene that I could work more efficiently to finish all the aspect of this film.
So the nuts and bolts of my question is this. Can I convert both the timeline AND the already logged master clips to 24p so that I can load in the HD as whole reel clips as they currently are logged and refer back to the timeline? I want to work from the existing timeline, but also have ALL the footage loaded in as HD 24p so I can sub clip by scene and rework the cut.
Thanks in advance.

HD isn't as simple as SD...not by a long shot. With SD, we captured offline at 29.97, and then onlined at 29.97. The biggest thing to worry about was that our shoot masters were 29.97 NDF but stock footage was 29.97DF, and that tended to mess up EDLs for the online.
But then comes HD. 720p...1080i...1080p. 23.98, 24, 29.97, 59.94. So many options...things got really complex. Now with HD you really need to know what your deliverable is...even before you shoot. Because everything is geared toward getting that final master. You CAN proceed without knowing that, but then getting the proper master will require more hoop jumping. So, at this point, you need to figure out what you want to deliver and work towards that. 1080 23.98psf HDCAM? 720p 59.94 D5? 1080i 29.97 HDCAM? You have to figure this out.
Editing 24p footage from the Varicam (which translates to 23.98) at 29.97 DV was a poor choice. DVCPRO HD 720p24 isn't even twice the file size of DV. DV is 3.6MB/s, and DVCPRO HD 720p24 is 5.4MB/s...so editing native would have been the wise choice. But that is moot. Moving on.
When I edited a 16mm film...shot on 16mm, telecined to HDCAM at 23.98...I captured DV downconverts that ran at 29.97. I asked the post facility doing the online if I should do it at 29.97, or should I reverse telecine to 23.98...they said stick with 29.97, so I did. Then we changed post facilities and they said I really should have been editing at 23.98...because I have now made the online rather tricky. But this is what they had me do. Export an EDL of the 29.97 timeline. Use Cinema Tools to convert that from a 30fps EDL to a 24fps EDL. Then give them this and the final project. They were able to rebuild the cut, with some issues where I had speed changes, but they did it.
So what you need to do now, is find the place that will be doing the online, and get someone there to get this thing where it needs to be. It isn't as simple as recapturing at 29.97 or 59.94. The footage was shot at 59.94, but with flags set to make it 23.98 when captured. If you had a Kona or Decklink capture card, you could capture it at 59.94, but that format won't match up with the 29.97 EDL...different time base. And you cannot capture 59.94 as 29.97...not unless the footag was flagged in the camera as 720p30.
This is a very complex situation and I have barely scratched the surface. THis is why you need help from an HD expert, preferrably someone from the post facility where you will be doing the online.
Shane

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
Anybody is using films from Sony NEX6 in APE11 or has a way out?
Thnks
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

Film workflow advice

Hello,
I need some workflow advice for a feature film and I would really appreciate some input and technical expertise. I am working with telecined footage from 16mm film and I need to perform reverse telecine with Cinematools so that I can edit the footage in Final cut. My end format will be a 35mm blow up from my original 16mm negative, so I need Cinematools to track my footage correctly so that I can later export a cut list for the negative cutter.
My digital footage is SD and is on DV cam tapes. The lab used a telecine speed of 23.98 when they transferred the footage. The lab provided flex files which I used to create a cinema tools database and to batch capture all of the footage.
First, I need to confirm that the footage was captured correctly.
To capture I used the FCP preset: DV NTSC 48 kHz (29.97 fps DV-NTSC Best Quality 720x480)
I did not use the FCP capture preset "DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal" because my understanding is that this preset is designed to remove pulldown during capture when used with external hardware designed to remove pulldown during capture, correct? In this case I will be removing the pulldown with Cinema Tools instead.
I also am assuming that setting the capture fps to 23.98 would have been wrong because my footage is coming from DV Cam tapes, which can only be 29.97, right? So even though the telecine speed was 23.98, the footage needs to be captured at 29.97 and then processed with Cinematools to make it 23.98 or 24 fps, correct?
Second, I need to know if my goal should be to make my footage 23.98 or 24 fps with Cinematools. If my end goal is to export an EDL for a negative cutter to go back to my 16mm footage to cut from, should I edit at 24 fps? I think the answer is yes, but then I am worried that my telecine was done at a speed of 23.98. My audio was recorded at 30 fps - though my understanding is that the fps of the audio doesn't matter since audio is recorded in time and not frames. However, I did read in the Cinematools manual that if the footage is 23.98 as opposed to 24 fps, then it means that my footage is going to playback at a slightly slower rate, thereby affecting audio sync. If that is true, will I have to slow my audio slightly to maintain sync? This doesn't seem ideal.
Third, I am having trouble when I do a reverse telecine test with Cinematools on my footage. I am looking at burned-in key code and film frame numbers in my footage and observing that when I advance through my footage frame by frame in FCP, the film frame numbers of every frame are perfectly clear and legible (they advance thus: A2, B2, C1, D1, D3). However, when I view a clip in Cinematools (pre-reverse telecine), the frame numbers are blurred and have interframe flicker (the interlacing field pattern). The same is true after I perform reverse telecine on the clip. The cinemtools manual mentions this as something to be avoided in a clip that has been reverse telecined (in "Checking you Reverse Telecine Results on page 132) - however I see this problem in clips that I have not yet reverse telecined.
I am worried because another person worked with this footage before me and I fear that they performed reverse telecine on the footage already (and incorrectly) and directed Cinematools to overwrite the original file instead of creating a new one. If this is true then I would have to start over and recapture everything. On the other hand, it seems like if that were the case I would see the problem in FCP as well. Is there a way that I can tell for sure?
Thank you so much in advance for any advice you can give me! I really appreciate it.

Thanks Jim. The project is sort of like an "extended music video".
So it is a record, 45 minutes long and then using that as a guide,
we shot the footage. Its not gonna be just lipsyncing all the time, but
there will be other things inserted there as well.
It is just the workflow that bothers me and mainly:
1 Should I convert HDV material after capturing with prores 422 or stay in native
2 When should I convert from PAL to NTSC?
3 Should I s t a r t, by importing the 5.1 surround mixes to FCP6 and then work
with that as a guide?
I´ve done some music videos before, but this is more like a music movie and
will be sold as a sales DVD.
I would appreciate any help you guys can give.
Thank you, timo

24 fps Film Workflow in FCP

Hello all,
I'm planning out a film workflow for a feature-length motion picture I plan to edit with my Final Cut Pro setup.
The equipment is as follow:
Mac Pro Quad 2.66 GHz
5 GBs RAM
6 TB Cal Digit RAID
Kona LHe capture card
The stock will originate on 35mm and there is a chance that this will go back to film to have the negative reconformed (pending purchase by a studio and/or distributor). However, the initial plan is to master to HDCAM SR and do a Digital Intermediate.
Ideally, I'd like to stay in 24p (23.98) for offline.
One plan for offline includes getting all dailies transferred via telecine at one-light to DVCAM, then digitize and doing the reverse telecine in Cinema Tools, then correcting for the timecode variance, then doing offline in SD in a 23.98 project.
Would it time-saving (I know not cost-effective) to get all the dailies telecined at one-light to DVCPRO HD tapes at 24p, then digitizing into the system at 24p, and eliminating the whole "reverse telecine" process.
Is this the only way to ensure that offline and online media originates on 24p and stays that way? I want to stay away from conversion as much as possible.
Thanks in advance!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA

Of course Keycodes...I planned on this from the beginning. However, for your recommended method, I don't see why we'd have to have our 1-light transfers to HDCAM SR 4:4:4...wouldn't it make more sense to transfer directly to DVCPRO HD tapes, dig them into the FCP station (we'll rent a deck and tri-sync) and cut, then pull our selects from keycodes for an HDCAM SR 4:4:4 master for the final format.
Ok, you really don't need to transfer as 1-Light, have the colorist make a full color correction. The only reason why I mentioned 1-Light was for reducing the time in the transfer suite. You still be have to do Tape-to-Tape Color Correction and they can do some pretty amazing stuff that you won't be able to do in the dailies and vice-versa (Go with a DaVinci System or EQ or Pablo).
The only reason why I don't recomend the whole transfer to DVCPro and the re-transfer to HDCam SR is because you can get the DVCPro quality from the 4:4:4 Master (Just digitize straight from the HDCam SR master with a DVCPro codec). You save the 2nd Re-Transfer time, the Dubs to DVCPro, the DVCPro Tapes and you same TIME. Remeber that they still have to re-clean the film, spend time loading to the telecine, and problems that are going to arise due to a re-transfer like possible scratches, lab dirt, chemical spots, film tears, etc. And these DO happen).
*Also, if you're also editing your way, and matching back to you keykode for selects, you won't be able to do it in Final Cut. I checked today and this option is only available for Avids. *
Since it's a 1-light transfer, is it really taking advantage of the HDCAM SR's 4:4:4 color space bandwidth? Why not go directly to DVCPRO HD if it's only going to be 1-light...
Again, don't do a one light. If you can afford it have the colorist do their best. Yes, if you are going 4:4:4 might as well go all the way. Regarding the DVCPro, see above.
I'm not sure our budget will allow for an HDCAM SR 4:4:4 transfer of our dailies. Is there typically a price difference between transfering on different HD tapes formats? HDCAM SR seems like it'd be more expensive than DVCPRO HD. If there is no price difference than I can see your point...but how good would it look at only 1-light (albeit w/ video color-correction).
HDCam SR 4:4:4 is expensive. Next best thing would be HDCam SR 4:2:2, followed by HDCam and finally DVCPro HD. Lately, DVCPro and HDCam are going about the same rate for transfers. If you have a good Post Supervisor he/she can probably sweet talk the post house for a HDCam SR deal. DVCPro HD has a compression of about 15:1, HDCam is 7:1, HDcam SR is 3:1 and SR 4:4:4 is 1:1. (It varies from source to source, these are only approximates) If you're doing a Film-Out, the higher quality, the better the Film-Out.
Oh, and one more thing... a friend of mine, after choosing his selects from the final format of his feature, had the HDCAM select reel made with a 3-light transfer, BUT, also had a downconvert made with Keycode and Timecode burn-in to help with the reconform...if the keycode stuff failed to match...it seems to help him a lot. Any merit to this method?
This is how you re-conform your offline. The whole DVCam dub thing is a given, is part of the method. You have DVcam dubs made (with keykode and timecode burns), you digitize this new material with its respective list and then you match the keykode from the dailies, to the keykode from the selects and bring in your new timecode from the new "selects" masters so that your sequence/EDL (and therefore online) will have matching timecode (the timecode from the original dailies will be useless). (*This system is only available on AVID as far as I know*). Again, this is where keeping track of keykode is super important and you will encounter problems.
In my humble opinion, most of this stuff is for the Post Supervisor to figure out with the Editor and the Post-House. I have talked to post supers that have gone this method and you would not believe how confident they were the 1st week and totally lost it after the 4th week. I have seen shows that have gone through 4 or 5 assistant editors and had to hire a 2nd editor to help with the problems that came up. I have worked on this kind of shows many times and that's why I HIGHLY discourage it.
If you (or someone else) wants to know more, feel free to contact me and I can go into details and help you figure out a workflow that will save you TIME and a lot of headaches and a tiny bit of money. My email is in my profile and feel free to contact me, I won't bite! At first...

PLEASE help with 24p editing mixed with 29.97

Hello--I am a newbie to all of this 24p editing. I shot a zombie movie last summer and have a MESS with the footage. Half was shot in 24p advanced mode on the Panasonic AGDVX100a with a 16:9 anamorphic lens, and half shot at 4:3, 29.97 with a Sony DVX2100.
I realize I need to "conform all of this footage".
Can I stay on a 29.97 timeline? I heard that dropping 24p adv footage onto a 29.97 timeline results in a "jittery" picture once output to TV.
Should I edit on a 24p timeline, and convert the 29.97 footage?
It seems that when I drop my 24p advanced footage into Premiere (CS4), on a 24p timeline--the fouth frame is identical to the fifth. Does this mean that pulldown removal is not happening correctly? How do I fix this?
Even if I do figure out how to edit on a 24p timeline, when I do my final render, what should my output file be? should I try a 24p DVD?
Also...This is an EFFECTS HEAVY film. So I need to do an edit in Premier, then render it and bring it into After Effects, do the effects, and do another render...then I will take that render back into Premier. Will this work? What render setting should I use? How will the pulldown be affected, if at all?
ANY HELP IS GREATLY APPRECIATED!!! I have scoured the net, but have not come across the right answers yet...please help!!!!

Hello orion,
Your HDR-CX550V records HD as MPEG4 AVC/H.264; and SD as MPEG2-PS. It appears to be an AVCHD camcorder (at least for HD video).
Storing your +original footage+ could be done at least two ways:
1 - record to removable flash media and save the Memory Sticks as your originals, as you formerly saved your tapes. (If I did my math correctly, you could fit up to about 6.5 hrs. HD video on a 16GB memory stick depending on the recording mode you select.)
2 - copy the +entire directory structure+ from the flash media to a hard drive; this is important, you need the entire directory & files from the root folder on down, not just the AVCHD folder or just the .mts files. Test this before committing to it as your archiving method.
The third way (and what I would probably do myself):
3 - Log & Transfer into FCE and then archive the resulting QuickTime .mov files to a hard drive. (Admittedly, this is technically not the 'original' footage because it has been transcoded to Apple Intermediate Codec; however the quality is excellent and should be almost indistinguishable from the original AVCHD video.)
If you convert the video files yourself (you mentioned iSkysoft), you need to convert to QuickTime/Apple Intermediate Codec to use the video in FCE.
FCP can handle 5.1 audio however the state of the art of these camcorders does not lend itself to direct import or conversion from the camcorder. Even the pros need dedicated 5.1 audio hardware. Frankly, 5.1 audio on these consumer camcorders is more a marketing gimmick than something actually useful at present.
The filenames 00001.MTS, 00002.MTS etc. are assigned by your camcorder and there is nothing you can do to change that. (Although you could rename the QT .mov files after you Log & Transfer from your camcorder).
- hoping this helps ...

Film workflow with 24p footage: nightmare

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