JVC SD 24p footage capture settings

So I've been working on a short for the past few months, and just when I thought it was all ready to go, I exported for DVD and discovered that something was wrong with the footage -- somehow, in the capturing process, we dropped a frame and every 5th frame was duplicated. I am now trying to recapture the footage properly, but find that no matter what settings I tweak, the end result is the same. Can someone please tell me the proper capturing settings for footage shot in SD 24p with a JVC GY-HD camera? I do know that this is a stupid question, but hopefully that means someone will have a quick and useful answer -- which will be SO MUCH APPRECIATED. Many thanks!

I think I'd just capture useing the easy setup for DV NTSC, and use "firewire Basic" as a device control setting for that camera.
24p is recorded at 29.97 with a pulldown added, and you needn't remove this pulldown for any real gain with short programs.
Jerry

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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

Can't Batch Capture 24p Footage

I recently crossgraded to Final Cut 5.1 (now using the most recent version, 5.1.4) and my JVC BR-HD50 deck seems to be having issues when it tries to cue the tape for batch capture in 24 frames. All of the settings on the deck are as they were before, when I could batch capture 30p footage, but I haven't yet been able to batch capture anything shot on 24p. Capture Now works fine but is very tedious when importing a lot of footage.
Appreciate any suggestions..
Thanks.
G5 Mac OS X (10.4.9)

Well.... NEXT TIME you'll know to always have adequate pre-roll on your footage.
THIS TIME, first, change the inpoint on the batch capture that contains the offending portion to a place where you can reliable capture the clip you need. Then do a capture now of the head of the tape up until the new in point of that clip. Be sure to give yourself adequate overlap so you don't lose any frames.
Does that make sense?

Capture settings for Canon XL2 shot in: 16:9 24p 2:3:3:2

I just boght the XL2 and FCP, and need to capture a four hour interview I shot today in 16:9 24p 2:3:3:2. I just don't know how to set up the capture settings correctly.
Thanks guys,
Wes
iMac G5 Mac OS X (10.4.7) 2.0 GHz, 400Gb Hard Drive, 2Gb Ram, 250Gb External

Well, 2:3:#:2 pulldown refers to the way your camera flags the frames while they're recorded, in other words there's not real 24P recording while using tape, because video runs @ 29.97fps ,(what the camera does is to tell to your editing machine that it has to spread the 1st frame over the two first fields the second frame over the next three fields the third frame again over three fields and so on, from there it why it's call 2:3:3:2 pulldown) so in fact to capture true 24P for editing you have to remove the pulldown and remember,if you later are going to edit to tape you'll have to re-apply the pulldown so it prints well to a 29.97 device.
Hope I was clear enough

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.

DVCPRO 50 capture settings from SDX900

I captured some DVCPRO50 footage that I had shot on an SDX900 set at 24pa progressive. I captured it using the anamorphic DVCPRO50 preset. Looking at the footage, some clips have an interlaced frame every 3 progressive frames, while other clips have 2 interlaced and 2 progressive. These were all shot and captured with the same settings, so I'm assuming one of the capture settings are wrong.

OK I finally went back and figured it out. I had originally used the DVCPRO50 24p capture setting, but footage was recorded at 30 with a pulldown, whichever the SDX uses for its 24p interlaced setting. I used the generic DVCPRO50 anamorphic capture setting and then the Reverse Telecine in Cinema Tools did the trick like you said. Thanks for the help

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.

Anyone know if Final Cut Pro 5 will support JVC ProHD 24p anytime soon?

Friend just got the JVC HD100 and has no way to edit 24p footage from it. I may be his only hope if Apple updates. Wondering if any of you all had any word.
Thanx

http://www.aja.com/pdfs/AJAwhitepaperHDV.pdf
Capture card and HDV deck required.
Shane

Importing 24p footage

What should my capture settings be at when I import footage shot at 24p? I have heard differing things. Some people have said to capture at 29.97 and others say 24.

Link to a further explanation.
x

Trouble importing 24p footage (no timecode!)

I shot a project on a Panasonic HVX-100 in 24p advanced pulldown i believe, and I am not trying to import it into FCP 5 using a canon GL2.
FCP will not let me capture now because it keeps waiting for a time code, but there is not one visible on the tape. Is there a way to work around this? Also I can play the tape on the GL2 and in FCP, just not import it.
thanks in advance.

All DV footage contains timecode. It is part of the DV stream. If you capture with Firewire the timecode is there, however if you are using Capture Now, FCP will not properly deal with the timecode from the tape. FCP will instead create new timecode fromt the beginning of the capture now footage.
If FCP is "waiting for timecode" that means it is waiting for footage that matches what it expects to see based on your capture settings. I would bet your capture settings are wrong. Close your capture window and do an easy setup for DV NTSC 23.98 Advanced Pulldown removal and try again.
This will not work if the footage is not Advanced 24P. If it is not Advanced just capture with regular DV NTSC (or PAL if you are in the right country). You can remove the pulldown in Cinema tools but I wouldn't recommend it if you are inexperienced.
You could also have a bad firewire cable. I had one a while back and replacing it fixed all kinds of mystery bugs.

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).
so... situation is i can deal with this funky capture issue but it's an extra step and a pain in the rear-- anyone have any theories on how this happened and/or a permanent fix so i can shoot and capture the way fcp is supposed to work?
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
for a clue......
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.
i know the fcp settings are correct -- i just don't get it.
fyi... i notice that as footage plays out through the firewire from the xl2, it looks fine in the camera viewfinder but i can see the motion issues on the log and capture window as it plays-- this is obvious even before initiating capture.

Sony Z7U Best Capture Settings

m have some basic questions about FCP capture settings.
I filmed onto tape the following settings on my Z7U:
1080i 24p
1080i 30p
I have seen that if you use tape you should use the following capture settings in FCP:
HDV 1080i60 because the tape is not true 1080i 24p, 1080i 30p.
Is this incorrect?
I have noticed that my footage is not as clean or as nice as when I filmed in 1080i 24p and
1080i 30p using the CF Cards.
So, What are the best settings to use in FCP6 for 1080i 24p, 1080i 30p tape capture
presets?
Best capture presets for 1080i 24p, 1080i 30p using CF cards?
Pro Res files are huge and I dont have FCP7 yet.
Im looking for a preset that will be smaller in data size, easier to work with.

David & Studio X,
Thank you for quick replies. Tape plays fine in DSR-11, it just looked squished up as if 16:9 in 4:3. Camera used was Panasonic hvx 200. Sony MiniDV tape. I need to be able to use it in shows with footage shot in NTSC for broadcast on SD Network.
http://www.microfilmmaker.com/reviews/Issue11/HVX200_1.html
With thanks again, Susan

Capture Settings for uncompressed Video Vs DV Video

Im capturing footage from Digibeta masters via a J30 deck using a single SDI cable connected to my black magic extreme, (captured using the Blackmagic uncompressed 10 bit setting) editing in FCP and exporting to SD dvd via compressor using "dvd best quality 90 mins anamorphic".
Up untill today i had been using the same workflow EXCEPT i had been capturing over firewire using DV PAL anamorphic to work in the DV PAL format.
Comparing the final result of both workflows im not seeing a huge difference (the original footage is the same in both cases).
Are there any capture settings i can play with that will improve the quality of the final product or should i be looking at the bitrates in compressor instead?
I just want to make sure im not arsing up the capture and that i am capturing as much info as i can from the digibeta masters. The files created from he digi's are a lot larger then the files from the Dv stuff but i just dont feel im seeing that on screen - any advice?
thanks,
S

All the original footage was shot on 35mm by a pro cinematographer - me:) Each project was mastered to Digibeta. What i want to do is show that footage in its best "light" so to speak, but i am limited to presenting it on SD DVD until Blu-ray takes off.
Up untill recently i had been using the Digi to DV to DVD workflow i had described above. With a recent desktop upgrade i am now recapturing all the same material from the same Digimasters using the uncompressed 10bit to dvd workflow descibed above so that i can avoid the afrementioned dv compression in the middle.
Obviously i can see a difference between uncompressed and Dv footage natively but when i view them both on DVD on a PAL monitor i cant see as big a difference as i had hoped i would see.
can i improve this difference with my capture settings or do i need to work on my dvd bitrate settings or a combination of both?
S

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?

Sequence and Capture Settings Help Needed

Hi there...
Need some advice on setting my Sequence and Capture Settings in FCP 6.0.4.
I have a Sony HDR-SR1 (AVCHD) and I know I how to bring the footage in through "Log and Transfer", but I'm not sure what I should be bring the footage in as.
Should I capture with HDV, or can I bring the footage in as ProRes 422 (HQ)? Once captured, should the Sequence be set to HDV - 1080i/60, or should it be set to the ProRes setting? Or, does AIC still play a factor in this and I should choose that?
Correct me if I'm wrong, but if I bring in as HDV, the file size will be very large. But if I bring it in at ProRes 422, the filesize will be smaller, but how much will I lose in compression?
Also, does anyone know if I'm stuck shooting 1080i/60 or can I get 1080i/50 or 720p/24/25/30?

The orginal footage is not DV, it is DVCPRO 25. I am capturing in the DV setting because of the length of the footage. The DVCPRO deck doesn't have a firewire output.

JVC SD 24p footage capture settings

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