Panasonic DVX100a 24p vs 30p in FCP

Hi, I am renting 3 Panasonic DVX100s to video a ballet performance in April. I rented on this weekend to use so I can learn about it.
I don't see any difference between 24p and 30p. Is there any difference in FCP?
Would there be any significant difference between the two when shooting a ballet?
Thank you for any advice.
Brock Fisher
San Diego

Keep in mind, 24p on the 100 is one thing... 24p on a sequence is something else. 24p does NOT mean 24 frames per second when shooting with the dvx. 24pA does (with added step).
I guess my thought would be to test it out at a rehearsal and see what you really want.
Do you want Franco Zeffirelli or do you want the irreverent Peter Sellers (the director, not the actor).
Make sure you really understand what that camera's choices are and how you can use them to your advantage.
CaptM

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Panasonic DVX100a NTSC DV video camera FCP Settings

I used a Panasonic DVX100a for the first time. I shot 30FPS Progressive. I was wondering if anyone knows what the appropriate setting I should use in FCP to digitize and edit only the progressive frames. I ask because when I digitized using the standard FCP Basic DV NTSC setting the logging info told me that the footage was lower field dominate. If it is progressive shouldn't there be no fields?
On a side note I have heard in the past that DVX100a's sometimes have an audio sync problem. Is this true and if yes what is the work around.
Thanks in advance to anyone who can help.
Cheers,
Mike Kroesen

Me neither but it's been reported since the first version was new and apparently was enough of a problem that Apple wrote that sync tool and included it on the first version of FCP 4.
I capture regular NTSC and 30p with my JVC vtr and as the darn thing doesn't read the pulldown flags, if I have 24p or 24pa and wanna work in 23.976 fps, I log with the JVC and and then do a one pass capture with the camera. No shuttling, no reversing, just pass the tape, no worse than taping. By the time I'm ready to replace that erstwhile camera, tape will be long gone and P2 cards or whatever will be as cheap as SD cards are now.

Final Cut Express 3.5HD and Panasonic DVX100ae

Hi guys,
I'm desperate for some advice. I'm seconds away from purchasing a Panasonic DVX100ae but just thought whether or not i would be able to edit the 24p effect on Final Cut Express 3.5 that i'm desperate for. If i can't then i guess its pointless spending so much on the camera. Someone please help!
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FCE does not work as well with this camera as FCS does. Some functionality in the camera will not work correctly. 24p advanced does not work with FCE. Basic 24p will work, depending on what you do with the material in the application. For basic editing it's OK.

JVC GY-HD100U or Panasonic DVX100A?

Dear forum members,
I will be shooting a B&W short film in April. Aesthetically, I would like the look of film. I have two cameras available: the JVC GY-HD100U and the Panasonic DVX100A. I have FCP5HD on the latest 2.16Ghz iMac with 2GB RAM. My question: will I basically be shooting myself in the foot if I film in 720p24fps, or should I play it "safe" and shoot SD24p on the DVX? Perhaps I should shoot 720p30fps on the JVC?
I know the latest version of FCP5 is compatible with all formats on the GY-HD100U, but I also realize there may be other issues unknown to me.
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-CB
iMac Intel Core2Duo Mac OS X (10.4.9)

The JVC is a great camera, functionally much more like a broadcast camera with some great set up options. The big advantage is it's progressive scan 1280 x 720 resolution in HDV format. I would however put aside some pre-production time to experiment with the functions if you are not already familiar with the camera. The dvinfo.net website has lots of info to help you.
I always use the JVC with the dedicated DR HD100 hard drive which allows me to simultaneously dual record identical quality images to tape and disc, the 80GB drive will hold around 7 hours of footage. Clients love it as it saves hours of digitising but they have the security of a tape back up.
A lot of people have had problems importing the HDV footage from this camera into FCP, using the hard drive, for me, has eliminated this problem but that doesn't help if you need to recapture footage from tape later.
The main problem seems to be with takes being cropped at the beginning and end of takes by up to 8 seconds in total. I've found that setting FCP import to the minimum of a 1 second pre roll cuts this down to a maximum loss of about 2 seconds and then I make sure I leave enough pre roll and end roll on each take in the camera. I use the Apple Intermediate 720p codec for editing but you could also use the DVC PROHD codec (only 960 pixels wide though).
If you choose to use the JVC allow plenty of pre production time to experiment with the workflow that best suits you and the advantage over the Panasonic will be the improved resolution.
G5 2.7 Mac OS X (10.4.9)

Captering with the panasonic dvx100A?

what is the best settting in the capture (fcp 4.5)menu for somthing filmd in scene file 5 with the dvx100a(24p 16:9)

24P is really 29.97 fps with a few frames combined to give you a few interlaced frames for every 2 and 3 progressive frames... kind of.
SO --
Use your normal DV/PAL 29.97 48k setting... I forget if there's one for anamorphic, but you can make one. Just EDIT the capture setting and click the anamorphic button.
Then, use the same settup for the sequence... make sure it's anamorphic and DVPAL 48k.
Good luck,
CaptM

24p vs 30p for a documentary

Hi all. So I'm dipping my toe into the documentary film pool and I need to purchase a better camera. I have narrowed it down to the Panisonic AG-DVX100* or Panasonic AG-DVC30. The DVC30 is a hair cheaper but it doesn't have 24p. Two questions.
-How noticeable is the difference between 24p and 30p?
and
-Can FCE actually handle 24p?
I've been searching the discussion board and I'm just a little confused on the matter. I'm sure one of you with some experience could clear it up for me. I want this first film to look good but it doesn't have to be immaculate. From what I understand, FCE can't handle 24p but it can handle 30p (29.97). Am I correct? This will help me in my decision process between the two cameras. Has anyone had experience with the AG-DVC30? I've heard nothing but rave reviews of the DVX100. Thanks in advance.
MacBook Pro 1.83 ghz 2gb Mac OS X (10.4.10)

Last weekend I rented a Panasonic AG-DVX100B. I chose the F5 preset for 24p (not advanced), cine-like, etc.
When I imported it into FCE 3.5 I got 30-interlaced.
I tried re-importing into a fresh, new project in FCE but FCE still shows the imported videos as 30-interlaced. I've double-checked the camera settings and it's definitely recording 24p.
Any idea what might have gone wrong?
TIA,
--Richard
G4/867 Tower Mac OS X (10.4.10)

Problems Capturing with my Panasonic DVX100A

Good Day, (I have posted this problem in the past and have had little help)
I have a Panasonic DVX100A camera, a 500 gig-24 inch iMac (under a year old), and a Macbook Pro (almost 2 years old) Both computers have the Leopard OS.
Here's the problem: When I try to capture the footage from my Panasonic DVX100A onto FCE on my iMac, FCE says, "Unable to initialize video deck..." So I go to the easy set up function as I have read in previous threads.
In the FORMAT tab, I click, "DV/Panasonic DVCPRO" and continue on. As I try each setting under the USE tab, I get the same message saying:
"Unable to locate the following external devices: Apple Firewire NTSC (720 x 480)
Your system configuration may have been changed...."
I understand FCE cannot recognize my Panasonic Camera in any way, so I open iMovie 08 and try to capture my footage that way. Here's where it gets interesting - iMovie 08 on my iMac also doesn't recognize my Panasonic camera BUT iMovie 08 on my Macbook Pro does!
So what I've been doing for the past few months is capturing my footage in iMovie 08 on my Macbook Pro and transferring it via Firewire to my iMac - then importing it to FCE where I can edit the footage.
Does anyone know why my iMac will not recognize my Panasonic DVX100A in any program, yet my Macbook Pro does recognize it in iMovie 08?
and
Is there any advice as to what I can change/programs I can install/or anything I need to do for my iMac to start recognizing my camera so I don't need to do this ridiculous procedure every time I want to capture my footage and edit it with FCE?
Please help!

Tom,
Im not too sure what the exact media on the tapes are, or where to find that but what I do know is that I use many different brands of Mini DV such as Fuji Film, TDK and Maxell. I don't have the technical skills attached with years of filming but I do know that all of my settings on the camera are turned off - in regards to recording mode, my "DV OUT" on my camera is turned ON.
As for the presets in FCE, (the "EASY SET UP" option) I have tried them ALL and none of them seem to make any difference. And as for the firewire, the camera has a 4 pin firewire port and the iMac computer is a 6 pin. Im not too sure how much more info you want.
The problem is, my camera - with the firewire attached to the Macbook Pro, is recognized in iMovie 08 and has no problem transferring the data, even with the exact same preference settings on both computers - yet the iMac won't recognize it in iMovie 08. I don't have FCE on my laptop so I don't know if it would recognize it as well on my Macbook.
Another thing I should mention, is that I have an older JVC camcorder that records on the same DV tapes, and works perfectly well in FCE on my iMac. I attach the firewire and it's recognized and transfers the data perfectly. (I was told that you should record the footage, and playback the footage on a computer with the same device for best capturing results. So filming it on my DVX100A and playing it back in FCE on my JVC has been an option as well - but still a silly way to work with my gear.)
The variable here, to me, seems to be my iMac and its compatibility to the Panasonic camera. The JVC works on both computers but the Panasonic only works on the laptop. I have also searched other video forums for this kind of problem, but I have had no luck. People have told me it works great on their computers.
Does this help clarify my problem?
Thanks

Capturing and editing 24p from panasonic dvx100a

hi all,
forgive me if this post seems thoroughly redundant...but after several hours of searching the web i am utterly confused. I need help!
here's where I'm at:
shot a project with a dvx100a for the first time. Shot everything at 24p Standard (aka F5 mode on the camera).
am editing in FCP 4.5 and the
final destination for the project is the web..but might need to make dvd's for the client along the way.
also want to incorporate a few Super 8mm shots that are already transfered to MiniDV into the edit as well.
my main question(s) is this:
1. What setting do I capture my 24p footage at?
normal dv ntsc? dv ntsc advanced 2:3:3:2 pulldown removal? dv ntsc anamorphic? what about cinema tools reverse telecine or 3:2 pulldown removal? i'm confused by all the conflicting advice i've read...
2. What setting do i create my sequence at for editing?
dv ntsc normal? dv ntsc 23.97? dv ntsc anamorphic? again confused here by conflicting info on the web...
3. What does the cinema tools reverse telecine do/achieve?
4. What's the optimal output settings/process for the web (quicktime movie) to keep it looking like it does when i watch the raw footage back in camera?
any and all advice, tips and guidance is GREATLY appreciated. i need to get started on this project and can't figure out what is the best settings/means to get going with.

one quick answer I can give you is all your questions regarding anamorphic settings. The only time you use the anamorphic settings is when you shoot your footage using the anamorphic option in your camera or use an anamorphic lens. How can you tell after the fact? Well, look in your capture window with the regular settings. Do people look stretched top ways, look taller and skinnier than normal? If you answered yes, then you need the anamorphic (or 16:9) settings. Once you switch this, you will immediately see the proper conversion in you're capture window (everyone will look normal again and you will be capturing a 16:9 image).
As for the 24p, 3:2 pulldown stuff, I simply cannot answer as that is still all foreign to me.
You might want to also inquire as to weather the camera shoots true 24p (progressive) or if it is interlaced footage.
hope this helps a little bit.

Panasonic DVX100 (original) should I shoot in 24p or 30p?

Hey,
Working on my first feature and will be editing in Final Cut Express HD 3.5. Want our dailies to look progressive scan and filmic should I shoot and edit in 30p?
Chris

I know for the most part you want progressive
That's not necessarily true. For Blu-ray or DVD delivery, 30i would be the better option over 30p or 60p, as 30i can go onto disk "as-is", without any frame rate conversions.
I think the choice on this is purely aesthetic. Do you want the look of film (24p) or the look of video (30i)?
Personally, I shoot everything at 24 fps these days.

24p and 30p?

Okay so lets say I am shooting with my Sony HVR-Z7U in 30p, then decide to change it to 24p or 60i. When I go into Final Cut Pro how should I import it as one video but have FCP recognize the individual frame rates of the video files? I haven't bought the Z7 yet, but I am wondering this because I have an XL2 and when I import the tape, it imports the tape as one video clip. When I capture from the Z7 will it do this or have a new clip every time I hit the record button, like it does with AVCHD camcorders. Please help me!

I think this should answer your question:
http://discussions.apple.com/message.jspa?messageID=8879873#8879873

24p 25p 30p 50p : what's recommended for HD in a PAL environement

While i'm choosing a new digicam that can shoot movies (1920x1080), I wondering what's the frame rate to prefer for editing with FCS to produce Bluray
in a "PAL world".
I'm very interested in a Nikon P510 with its huge zoom but it record at 30p.
Instead of the NiKon a friend suggested the Sony HX200 that shots 50p and 24p...
In other world i would like to have an advice if:
24p it's ok to edit in FCP
30p it's ok to edit in FCP and it's ok (i doubt) in the PAL environement
I'm quite experienced in PAL SD (miniDV --> DVD ) workflow but very confused on the HD one...
Thanks

In a PAL environment you can use either 25p or 50i .... both are the same framerate but one is progressive (p) and one is interlaced. Both can be edited in FCP
24p is often used to give footage the "film look". It is also supported in the Blu-Ray standards and in FCP.
50p/60p are non-standard framerates that are not always supported by NLEs. More often than not they are used to achieve smooth slow motion in post (e.g. 60p to 24p conforming). To my knowledge FCP can handle 50/60p only with the help of third-party capture card. 50/69p is also not supported on Blu-Ray devices.

Panasonic SD900 5.1 sound in FCP X

I have been importing into FCP X from my Panasonic SD900, everything works great except that the 5.1 sound is converted into 2 channel stereo. Anyone know how to solve the problem? It could be a bug?
Interestingly, I have found a work around, first import the footage into FCP X, detach and delete audio, I then use Aunsoft MTS Converter to convert the MTS files to Apple ProRes 422 and reimport these into FCP X, from these files I detach the audio and delete the video. Its then possible to combine the video and sound again (without video quality loss).
Tim G

OK, this may be a bit odd, but I just solved my problem! At least for practical purposes. For those who might run into this same problem, here's what I found:
I have an Apogee Ensemble and noted that I was, indeed, getting audio (at least visually) from the Timeline clip as demonstrated by the volume light flashing on channel 3 of the Ensemble. This was visual only since I was only monitoring stereo output from channels 1 and 2 and could not hear channel 3.
I went to the Inspector to check both the Event Clip and the Timeline Clip. I clicked the Audio Tab. In both the Event clip and the Tilmeline clip, the audio was properly noted as: "Four Mono" (because that's how the HPX170 records---in 4 channels). For some reason (which I still don't understand) the audio from the Event clip played fine. But he audio from the clip in the Timeline was silent (that is, no output through channels 1 and 2)..
Selecting the Timeline clip, I then clicked on "Channel Configuration" in the Inspector. That gave me the option of switching from "Four Mono" to "Stereo." This obviously then routed the signal to the channels 1 and 2 of my Ensemble so I could not monitor them. Problem solveed!
Again, I don't know why the audio of the Event Browser clip was properly routed in "Four Mono" mode when the audio of the Timeline clip was not (while in the same mode). But by switching the Timeline clip to "Stereo" it was fine.
One small step for man, one lightly larger step for mankind, in the New FCP X World!
Cheers,
Rob

Panasonic z-10000 work flow for FCP?

I can only get one (not 2) video strams to download. Any ideas?
Thanks

I'm having the same issue. Unfortunately, the only options I've come up with are:
1. Convert your footage using Cineform (after doing parallax adjustments and such). Then edit in FCP. Problem with this is: if you shoot 100 clips and in the process of editing decide you're only going to use 10, you just spent time adjusting and exporting 90 uneeded clips from Cineform. Huge waste of time.
2. Edit in Sony Vegas. This is a Windows only program. I just installed windows on my mac (using boot camp). Apparently, Sony Vegas is the ONLY video editing program that nativly handles 3D AVCHD (MTS) files. Problem is: I haven't gotten it to work without major lagging and drop out issues. *****. Apple needs to step up and start dealing with 3D. Also, I think it's shameful that Panasonic hasn't created a plug-in for video editing softwares to handle their footage.
Let me know if you come up with anything better. I'm pulling my hair out trying to deal with this. Best of luck.
Damian

24p in 30p timeline

I recently purchased a Canon 7D and am trying to edit with iMovie 09. I would love to get Final Cut Pro but at the moment I just can't afford it. This is just a hobby of mine with no real plans of changing that in the near future. My question is, since iMovie 09 does not support 24p, would it be ok to shoot 24p, edit it in iMovie with a 30p AIC timeline? Will this keep the same look of 24p? I guess this is a 3:2 pulldown when you import 24p footage? Will the sync be ok?
Thanks.

There is an exact procedure you must follow to input 1080p24 and export 1080p24. Google "The Ins and Outs of iMovie 09." you cant record 1080p24 with toast for BD. but you can export to h264 and play on a WDTV. Thats whar i do wit 1080p24 from my Pana AVCHD camcorder.

You shoot 24p, 25p, 30p but iMove 09 treats it as interlace! Why?

If your HD camcorder can shoot “1080p25” (progressive 25fps) or “1080p30” (progressive 30fps), of course you want to shoot using these frame rates. The Canon HV40 and Canon HF S11 are examples of HD camcorders that can shoot progressive video at 25fps (in PAL regions) or at 30fps (in NTSC regions) in addition to “1080i50” or “1080i60.” They can also shoot 24fps.
When you shoot 1080p24, 1080p25, or 1080p30, in most cases progressive video is recorded as interlace video. Both 1080p24 and 1080p30 are recorded as 1080i60 while 1080p25 is recorded as 1080i50.
When iMovie 09 imports this video, it will treat this progressive video as interlaced HD. Unfortunately, iMovie treats interlaced HD badly. If you Stabilize a clip, employ a PIP or Crop, add a Ken Burns effect to a video clip, or use a Wipe or Pseudo-3D transition (such as Cube)—iMovie on-the-fly converts your 1080-line video to 540p (960x540) video. Therefore, all 1080i clips in your movie will lose up to 35% vertical resolution and up to 40% horizontal resolution. This loss of resolution will occur even if you add only one of these effects.
But, what if iMovie didn't do this?
What if iMovie correctly saw progressive HD as progressive HD -- not interlaced HD? This would allow all scaling FX to be used. Moreover, because you ARE shooting progressive HD, NO scaling artifacts would be introduced!
Would this be a benefit to HDV and AVCHD 1080i shooters?
Absolutely! Especially if all this could accomplished without wasting time and image quality recompressing your video.

The Pana 300 is a great camcorder, but I wish it shot 30p. If you want a Cine look you'll have to shoot 24fps rather than the easier to use 30fps.
Anyway, about removing pulldown:
1) You CAN remove 2-3 pulldown. But, it requires a recompresion from AIC to AIC after your clips' AVCHD is converted by iMovie to AIC. This would provide real 1080p24. I call this "TRUE 1080P." But, with a MacBook this might take too long. And, you lose a generation of quality!
2) A better solution is to get iMovie to treat your video as though it has no pulldown and is progressive. I call this "FALSE 1080P" because once 2-3 pulldown is added during recording, the video has BECOME interlaced. (I'll explain about this in my other thread on dealing with 1080i50 and 1080i60.)
PS: The reason I prefer to shoot 1080p30 is because then the goal is to get iMovie to treat 25p/30p video as though it were progressive. I call this "TRUE 1080P" because it really IS progressive.
We know what it is, but iMovie doesn't. And, how can iM since it is recorded as 1080i50 and 1080i60. It's too bad Canon and Panasonic record 25p/30p as interlaced. The neat thing about TRUE 1080P is that after editing as progressive you can export as 1080i or 720p. And, no matter what FX you use you'll never get scaling artifacts!

Panasonic DVX100a 24p vs 30p in FCP

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