Ingesting 1080p60/, 1080i60 (or 1080p24) frame rates?

Hello,
I just received a new Sony PJ-790V Handy Cam. Newest tech from Sony. That said, I have FCP7, and other than moving to FCP X (unsure if there is an advantage to doing so), my scenario for your good selves is to be initially based on FCP7 please...
This camera shoots AVCHD 1920x1080, in frame rates of 60P, 60I and 24P. The first two is where I'm confused.....
Have not yet filmed much since opening the box yesterday, but it is my understanding that FCP 7 may not want to play nice (after ingesting with Log and Transfer) if using 108060P. I have no opinion (it's why I'm writing here...) if my 2 ultimate end products desired will work/look best as a P or I.
>> End product 1: Day for day end use- 1920x1080 H264 10-15mbps (after QuickTime or Compressor) movies played on my HDTV. The tv is capable of both 1080P and 1080I.
>> End product 2: Archived original movie (mastered from FCP 7 editing, exported as QT movie, Pro Res LT).
Sorry to get so wordy here- truly.
1) What will FCP 7 ingest and work with?
2) Is there an advantage to be gained by making the move to FCP X?
Respectfully,
Bob

Bob,
If you are curious about recording in 24p, you'll want to read up on the concept of the film panning.
Because you are recording at a 20% lower frame rate (24 vs 30) if you have much movement within the frame, the displacement of each element will be significantly greater. The result of high intraframe motion is a slightly staccato rhythm. Some like it and some find it induces epileptic fits.
There are ways to smooth it out. They generally require the ability to control shutter speed and/or employing a very deliberate panning motion. If you are working with a consumer cam, the first item is usually not in your control so you do need to understand how quickly you can move the cam for best results.
Best,
x
edit: fwiw if the material is low motion, I always record at 24p for a couple of reasons -
1. The file sizes are 20% smaller for a given period. This means I get that much more capacity/ recording time out of the card(s).
2. When converting to a steady data rate for playback, I have 20% more pixel information for each frame which means a higher quality playback.
also, If I'm recording action/ sports and the like, I'll usually record 60p. This gives me the option of time remapping (slo-mo). If I decide the material will work best as regular speed (i.e. not slowdown), I'll just convert it to 30p when ingesting it before editing.

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Need Help Determining Least Common Demoninator for Frame Rate, Codec, and Workflow

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Thus far, I've been working with Apple ProRes Proxy files to create lo-res edits. Now, I've started the task of offlining and ingesting new, HD clips from the proxy references. The content originates from either Panasonic HVX200 or Panasonic GH1 cameras.
Looking at the material, it appears the cameras were not shooting with the same settings and, somehow, a PAL GH1 got into the mix. Some of the performances have the PAL GH1 and other do not.
Here's the breakdown of the varying sources. I got this info from the Log & Transfer columns.
HVX Cameras
Format: 1080p24
Source Format: DVCPRO HD 1080i60
Shooting Rate: 24
Vid Rate: 29.97
TC Format: Non-Drop
GH1 NTSC
Format: 1080i60
Source Format: AVCHD 1080i60
Shooting Rate: 30
Video Rate: 29.97
TC Format: Drop
GH1 PAL
Format: 1080i50
Source Format: AVCHD 1080i50
Shooting Rate: 25
Video Rate: 25
TC Format: Non-Drop
ANOTHER GH1 NTSC
Format: 1080p24
Source Format: AVCHD 1080p24
Shooting Rate: 24
Video Rate: 23.98
TC Format: Non-Drop

Call the TV station/network and get their spec sheet first. You need to know more than frame rate.
Once you have that, you can work backwards to arrive at a workflow.
As a general priniciple, you'll get a more seamless translation of format when you add frames rather than removing them. (eg 24p to 27.97 rather than 29.97 to 24p)
At least all the material starts out in the 1080 world.
Do all your conversions before you start editing. (I'd use ProRes or ProRes LT for the editing codec).
Budget a bunch of time to sync the material or figure out a quick cutting style that minimizes sync drift.
What a nightmare.
x

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Blu-ray does not support 1080p60. It supports 1080i60 and 1080p24. If you wanted 60p, then you would use 720p60.
The problem with this issue is that a great deal of the public thinks that 1920x1080 is "1080p" without knowing what that means. So there is some confusion over 1080p60 in particular. Consumer cameras with that resolution and rate just appeared.
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http://discussions.apple.com/thread.jspa?threadID=2435232&tstart=0
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It supports 1080p60...that is 1080p at 60fps (because 1080i60 means 29.97 fps)...but you have to modify things. That is a non-standard format. BluRay discs don't play that, only one high end tape format supports that format. Because of this lack of real support for this format, barring very high end, it isn't a general setting in FCP.
yes, there are cameras that shoot that format. And I suppose they are meant to have you play back from the camera, or SD card player (some BluRay players do this).
Does FCP 7 support any frame rate--say 5,000 frames a second that a high speed camera might generate?
FCP supports editing of professional broadcast formats. Cameras that shoot 5000fps, generally are meant to then output that to one of the broadcast formats...23.98, 29.97. Thus getting that slow motion. You don't edit 5000fps. NO editing app edits 5000fps. It gets converted to the proper frame rate, then edited. The Phantom camera files are converted for editing.
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3 Ghz Intel Core 2 Duo / 8 GB / OS 10.6.8 FCP 6.0.6

I went back and forth on this.
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c. Time Remapping.
http://tv.adobe.com/watch/learn-premiere-elements-11/time-remapping-with-adobe-premiere-el ements-11/
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Hi Jerry,
To respond to your info request: my "settings" indicate my Editing Timebase is 23.98.
Moreover...
Editing Timebase: 23.98
1920x1080 HDTV 1080i 16:9
Pixel Aspect Ratio: Square
XDCAM EX 1080p24 VBR 35Mb/s
Quality: 100%
Audio: 48khz
Audio Depth: 16bit
Indeed, to achieve a film look I undertook the following steps in production and post...
shot 24p
shot with a Letus Adapter and Zeiss lenses
created an appealing depth of field where possible
avoided various "videofying" shots, like fast pans and so forth
crushed the blacks in color correction
used Nattress and adjusted the S curves in certain areas
I'm just wondering if I missed a step somewhere when it came down to designating the frame rate in Apple Compressor. When I saw the 29.97 frame rate designation in DVD Studio Pro, it surprised me. And then watching my movie on DVD (which is always a slightly difficult experience) I was really feeling like I was seeing an undesirable crisp video-ish feel that I hadn't seen before outputing to DVD.
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I know that I can mix frames rates on the timeline, but I am wondering if by adding the 60i footage to a 24p project... will the footage look as if it were shot in 24p or will it still show up as interlaced or dropping frames (the 6 frames it needs to loose)? I am mixing footage from many sources, where the majority of the footage is true 24p.

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If I have an uncompressed .AVI file that I created in After Effects CS5.5 which is 23.976 fps, and load it in Adobe Media Encoder CS5.5, and tell it to create a .GIF of it, at an output fps of 23.976, when I load the created .GIF into Adobe After Effects it tells me the frame rate is 25 fps and there is a black frame padded on the end. I want the frame rate of the GIF to be what I ask it to be, ie. 23.976, with no additional black frames.
Here's what happened with screenshots:
1. I load the uncompressed AVI file that was created in Adobe After Effects CS5.5 into Adobe Media Encoder CS5.5. Note below that Adobe Media Encoder is saying that the source clip is 23.976 fps, and that the export settings are to create an animated GIF at 23.976 fps.
2. After Adobe Media Encoder CS5.5 has said "done" (Encoding Completed Succesfully) for this export to a .GIF, if I take that .GIF file that Adobe Media Encoder has just created into Adobe After Effects CS5.5, this is what it says:
As can be seen above, Adobe After Effects CS5.5 is saying the GIF file that Adobe Media Encoder CS5.5 has just encoded is actually 25 fps, not 23.976 fps like I told it to be exported as. Also, the GIF Adobe Media Encoder has created is 10 frames long, whereas my original uncompressed AVI is 9 frames long.
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Thanks. Could you get them to also check other parts of the code too. eg. when I had a work area set in Adobe After Effects CS5.5 and then loaded that project into Adobe Media Encoder (dynamic link etc.) and rendered just the work area I think it was about a frame out then too - I don't think it was a GIF in that case but another type (maybe AVI/H264).

Ingesting 1080p60/, 1080i60 (or 1080p24) frame rates?

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