Mixing 60 and 24p footage in sequence

I have just bought a panasonic GH2 camera and see that it doesn't shoot 720 24p which I usually shoot in. 720 only shoots 60 fps, would have to jump up to 1080pa to get 24 fps.on both cameras.
Is it possible to mix frame rates within a sequence....I think not? as I would like to keep shooting 720p 24 with the Panasonic HVX200.
In the event that i do have to use 1080p on both cameras, what is with the P and the Pa setting, was warned by Shane Ross that times would be bad if Iimported the wrong settings...I. think I have to upress when importing tp FCP.
thanks
Catherine

Then shoot 24fps 1080p on your DSLR. You can easily drop that onto a 720p 24 fps timeline as the framerates will match, and FCP will automatically resize the 1080 frame to the 720 format. By editing a larger frames size source on to a smaller framesize timeline, you will also gain the ability to reframe and recrop your source footage on the timeline without degrading the image.
Try it.
MtD

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Mixing 720p and 1080i footage in a sequence

What's the best choice to edit a movie comprised of clips shot in 720p30 and clips shot in 1080i60? "Upscale and interlace" the 720p footage or "downscale and deinterlace" the 1080i footage?
Using easy setup, one has the choice to create either a 720p or a 1080i project, and when adding a clip to a sequence in this project, the clip is automatically converted to the project's format. Therefore, this is something that needs to be decided ahead of time. Or is it possible to change the project's settings after attempting to export the sequence if the result is disappoining?

All right, but assuming that I have the choice of output format (and I do), what is most likely yo result in the best overall result? Interpolating (720p output) or extrapolating (1080i)? Intuitively, I would think that interpolating is most likely to result in less artifacts than extrapolating. So on this measure, a 720p output of a mixture of 720p and 1080i footage would be more recommendable than a 1080i output.
The good news is that you are saying I can change this in my sequence at any time.

Mixing anamorphic and letterboxed footage

Is it possible to mix anamorphic and letterboxed DV footage in Final Cut?
I have a project that was shot on both formats.
How should I proceed?
Thanks.

And, if I need to, can I convert the final video to true 16x9 anamorphic, so it'll play full screen on a 16x9 monitor or theater screen?
Yes, but it will look like crud. This question gets asked a bunch so there are lots of responses out there explaining why this will be the case.
Oh, and if I need to convert the whole video to 4x3 full screen for intranet distribution, is it possible too? Thanks.
Yes, cropping and/or reducing the size for internet or intranet distribution can be accomplished using Compressor or QTPro.
Good luck.
x

Mixing "letterboxed" and "squeezed" footage in the same sequence

This is a good one. All footage shot on a DVX100, which has 2 ways of getting widescreen: squeeze and letterbox.
We shot 2 tapes worth of footage three weeks ago using squeeze for widescreen. I have since made a rough cut of all that footage.
Today, we shot the remaining scenes, but they were shot letterbox for widescreen (due to a communication errore between myself and the DP).
We discovered this halfway through shooting today, and decided to keep shooting letterbox because it will be easier to convert the squeezed footage to letterbox than vice versa.
Oh, and the squeezed footage is all outdoors, the letterboxed all indoors, so matching isn't an issue.
My question(s) is (are):
How would you deal with this (reshoots are out of the question)?
Is there a simple way to convert the footage I've already edited without losing the edits?
Is there a magical fix that will fix it without any effort on my part? (just kidding about that last one)
Thanks!
Jason
G5 Mac OS X (10.4.2)

Thanks for the tips!
What is your final output hoping to be? Do you need
anamorphic enhancement? (ie. you're outputting to
DVD, or for display on a 16:9 monitor, or for film)
It will be on DVD ultimately, but projected digitally for the premiere and possibly sent to festivals. It just needs to be widescreen, enhanced or not.
I take it your existing sequence is 16:9?
Yes.
If so...
1. Open a new 4:3 sequence in the timeline.
2. Drag your existing 16:9 sequence into the 4:3
sequence but don't let go of the mouse
3. Press and hold the Command key, then release the
mouse.
4. The contents of your 16:9 sequence should
now be inserted (as letterboxed clips) into the 4:3
sequence
I'll try this when I get home.
Or, when you meant 'convert the footage,' where you
talking about the source files?
If it's as easy as those steps, great! However, the two formats need to output to DVD together. I assume this will simply add more render time to that end?
I don't care about the source files if I can ultimately output it harmoniously.
Thanks again!
Jason
G5 Mac OS X (10.4.2)

Mixing HDV and T1i Footage

I have a project and some is shot on a Sony FX1000 which is captured at 1080 60i and some is shot on a Canon T1i which is 720 30p. I wanted to mix these into a sequence and was wondering what the best way to do so was? Should I use something like MpegStreamclip to convert the HDV to 720 30p? Or maybe something like JES Deinterlacer? What are my best options? Thanks!

tried using your contact me on your website - it didn't work....

Mixing 5DM3 and P2 Footage?

I'm going to work on a project that will have both footage from a Canon 5DM3 and an HVX200. Some of the footage is 1080 and some is 720p while some is 30fps and some is 24p.
1. What is the best way to get all of the footage at the same size?
2. What is the best way to deal with the differeing frame rates?
3. Any other general advice?
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1. Does the video need to be downconverted somehow to 720 before being brought into Premiere?
2. The footage has already been shot. Is there a way to convert it all to the same frame rate? What will it look like if it is all brought in?
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Mixing DSLR and HDV Footage

I did a short search and did not find anything. Also, I know this is a huge topic - so what I really am looking formis direction. As the title says, I want to mix DSLR footage with HDV footage. Whe should I start?

Just edit in HD(V) and export to whatever you want: BluRay, DVD, web.

Mixing interlaced and progressive HDV footage?

Is anyone mixing interlaced and progressive footage on a FCP 5 timeline? Would you set the timeline up for progressive or interlaced settings? Would there be any loss in quality? I'm specifically wondering how well the true progressive of the JVC HD100 would combine with the "faux" progressive of the Canon A1.

I was hoping someone else would jump in with answers, because I am not familiar with either camera, and can't give you a definite answer, but I would hazard a guess that if you set both cameras to a 1/30th shutter, you would be able to mix the footage, but it would be very difficult to shoot, because it is such a slow shutter.
Other routes, would be converting the footage using compressors advanced formats conversion, and other tricks on the timeline, with removing fields and blending etc.
I think generally though, if you were going to intercut footage, you would notice it, at some level.
Some tests would help you enormously, as would renting a second camera identical to the first.
Good luck - post back with what worked and what didn't.

Working with 30p and 24p in premiere

I would like some advice on mixing 30fps footage with 24fps footage. Or, shooting all in 30p, but I would want the final video in 24p without any quality loss.
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?
Suggestions? My ultimate goal is to have a cinematic look and feel.
This will be my first project in premiere.
Thanks!

My ultimate goal is to have a cinematic look and feel.
Then shoot in 24 fps.
Suggestions?
See this thread in After Effects Forum.

[CS4] Best way to mix HD and SD?

Hey guys, had some fantastic reading here that's done me a lot of good. Hopefully someone can help me out here.
Here's the scoop - I'm working on a documentary, and we're currently trying to find the best way to mix HD and SD footage so that it's best presentable. Everything was shot on DV/HDV, so before we waste all the time capturing just to find out there are better ways to go about it, we wanted to see what others have done. Essentially, our narrative clips (think Masterpiece Theatre) are shot in HD, and we're using a lot of still images at a high enough resolution to work in HD. Only thing is, a lot of our interview clips are shot in SD, but in 16:9 so at least aspect ratio is the same.
What would be the best way to go about this for consistent video quality? Would you recommend capturing everything in its native format, upscaling the SD footage as best as possible and exporting as HD? Bringing down the quality of the HD footage upon capture and just editing/exporting everything as SD? If you'd recommend upscaling, any advice on how to go about that? Appreciate all the help!

Curt,
I have never beaten him, though I do try often. Job well done!
Now, if that lottery ticket is the big winner, the forum will suffer, as you head off to spend your $'s.
Hunt
PS - I agree with you both.

24p footage in 30fps sequence is blurrier

Hello,
I'm about to load 20 hours of feature film footage shot on a dvx100b at 24p (regular, not adv.). Before importing a few shots of test footage I chose "DV-NTSC 24p" as Easy Set-up.
Every clip brought into the timeline requires rendering, and when I looked at the clips I saw that despite my setting, they imported at 29.97.
I'm willing to edit at 29.97 instead of sticking to 24p but here's the problem: I reset my Easy Setting as straight "DV-NTSC" and made a new sequence, and brought in the same clip as I'd loaded in the 24p sequence. A frame in the 29.97 sequence clip is notably less crisp than the identical frame in the 24p sequence clip.
Intuitively it makes sense to edit in 24p and just pull down (push up?) to 30 when it's DVD-burnin' time. Otherwise, I'd be dealing with 20% of my frames duplicated in the edit and who needs that?
Can I just bring in the footage at 24p and edit that way, or will the blur just come back? Thanks very much in advance for any help breaking through this bottleneck.
Best,
Sean
Mac Pro 2.66 Mac OS X (10.4.6) PowerBook G4 667

Sean -- that's cool.
Do keep this in mind when shooting with the DVX though...
24p setting and 24pA setting:
24p Setting is meant as a FILM LOOK setting. 24p setting will shoot from the CCDs 24 times a second but when it goes to tape it gets a pulldown cadence of 3.2 standard pulldown cadence - which means 2 frames are combined and added as 'interlaced' frames bringing the total frame count from 24 to 30 frames per second.
This is for two reasons... 1) miniDV tape won't take anything other than 30 frames per second, and 2) the 3.2 cadence is the standard cadence used by TV folk to convert film to 30fps and is least offensive to the eye.
Again, 24p setting on the dvx is to be used ONLY as a film look setting to be shown on standard 30fps display medium.
NOW --
24pA is when you want to shoot something and KEEP it in 24fps... either for film transfer or for 'perfect' film look on web or DVD (though as Pat says, the DVD player might be adding pulldown anyway --- which although I have the HIGHEST respect for Patrick... I've never heard myself before.)
What happens here is again, lens to CCD all happens at 24 times a second... BUT when going to tape a different cadence is added ... one that is easier for FCP to remove. This is the 2.3.3.2 cadence. Same process as before... frames are combined into 'interlaced' frames (upper half frame A and lower half frame B) and added to the 24 fps to make 30fps.
Now -- when capturing 24pA material, FCP will remove these 'interlaced' frames and return you to 24 progressive frames a second. PERFECT for film transfer.
Hope this clears things up.
CaptM

Highest Quality DVD Encoding for 29.97 and 24p DVX Footage

I want to make sure that in both FCP and in Compressor that I am setup to have the best possible quality SD DVD.
I have edited footage that is both in 29.97 and 24p from a DVX100a in Final Cut Pro 6.04. My sequence settings are:
720x480 -NTSC DV 3:2
Pixel Aspect: NTSC
Field Dominance: Lower (Even)
Editing Timebase: 29.97
Compressor: DV/DVCPRO - NTSC
Quality: 100
Video processing and render settings are on the highest setting.
I am done editing and want to encode to SD DVD using Compressor. My settings are:
Video Format TAB - Untouched (NTSC, 29.97, 4x3, Field - Bottom First)
Frame Controls TAB -
Resize - Best
Output - Progressive
Deinterlace - Best
Adaptive Details - Not Checked
Anti Alias - 0
Details Level - 0
Rate Conversion - Fast
Set Duration 100%
Are these settings correct? When I brought the mpeg2 into DVD Studio Pro and put it into a track, it said that it was 720x480i. Shouldn't it be 720x480p? I am a bit confused. Any help would be appreciated.
Thanks!

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.
Do some reading. It will only help.
CaptM

Mixing XDCAM HD 24p and HDV 1080 60i?

How do I mix 24P footage with HDV 60i footage
I have tried dragging the 60i footage onto the 24p time timeline but the HDV looks awful. Should I be converting the 24p footage to 60i then proceeding from there?
I had some luck using compressor, exporting the HDV using HD uncompressed 10 bit 1080 p24, then importing that file into my XDCAM 24p timeline. The HDV picture improves but it is not brilliant.
Perhaps my question is: Is there a way using Cinema Tools or compressor to mix the two formats? Do I have to use a Kona card? And when I export the final project, will the quality of the XDCAM footage be preserved?
thanks if you can help

If you have to mix the footage, you might try adding pulldown to the 24P footage to make it run at 30. I believe Graeme's Standards converter will add pulldown - or Shake. Then you can cut the 30fps footage into a 60i timeline...
As to dealing with HDV native timeline - maybe you should edit in a AIC timeline?
Patrick

Mixing anamorphic SD and HDV footage--best workflow?

I am about to start an edit of a multicam shoot with mixed HDV and 16x9 Panasonic anamorphic SD footage (from DVX 100 series cams). Any suggestions on best workflow would be useful.
I would like to use the multicam editing feature, which I have used before, but never with mixed footage.
Final delivery will be SD, though I wouldn't mind staying in HD for the edit/CC/EFX.

If you're doing multicam work, I would recommend converting all your footage to a single format before getting started-- generally, you want to convert the lower quality footage to the format of the higher, so in this case, convert all your SD footage to HDV. Alternatively, you could covert everything to an HD ProRes setting (this would be my route).

Using 24p footage and 60i footage together?

Hello,
I am working on a project that will combine 24p footage and 60i footage. What would be the best way to go about combining these two. It's for a short that is shot similar to Cloverfield. I want to use 60i footage for the hand held footage shoot by the actors who are capturing their experience. I'd prefer to have that footage shot on 24p as well and degrade the quality in post, but I don't want to run the risk of them dropping my DVX100a and destroying it. I don't have any experience with 60i, or combining two kinds of footage, so advice is much appreciated!
Thanks!

> that they are not true 30p but really 60i rendered to 30p
Well, I certainly can't speak for all of these cameras, but I have played around with some of this "30p over 60i" footage -- but most of this was from HDV cameras, not AVCHD. Avoid if you can. Basically, the luma is progressive and the chroma is interlaced.
I have a function (it's actually part of the dv2film and hd2sd functions) that will deinterlace only the chroma, so can recover greatly true progressive output... but this is an unmitigated a pain in the *** to deal with all the time, and you certainly lose at least a little chroma resolution. Avoid :)

Mixing 60 and 24p footage in sequence

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