Varicam footage shot at 720/25p

We are working on a 3 hour minseries. About 2/3rd of the footage is original Panasonic varicam shot at 720/25p. The other third will be stock and stills from a variety of NTSC and PAL sources (it's an historical project). I need to end up with a primary PAL version and also a secondary NTSC version. Because I anticipate a lot of rendering to match formats, I'd like to create an offline version with as small files as possible and then conform to an HD PAL format on our fcp.
No one seems exactly sure about the best way to do this. We've been advised to log and capture at DV quality on the fcp. We anticipate a PAL broadcast, so we've been advised to do the offline at DV/50 instead of DV/25. (PAl tv being 50hz.) I'm assuming we can do this from a Panasonic 1200A deck with a direct firewire connection
Then, we've been told, conform the edl at 1080/50i (instead of at 720/25p because most tv stations prefer a 1080 master. This way we would control the upconvert ourselves rather than let someone else do it.
Because this is a large project with many tapes, we'd like to get started in the right way.
Does our plan make sense? What am I not thinking about?
I would love to hear from someone who has actually done this!
Thanks, Chrisk1

You seem to keep asking the same question over and over, but moving the goal posts.
If you would state the facts (about your footage and FCP application) it would save a lot of time and frustration. The pople who anwer questions here are not Apple employees, they are video editors, doing it in their own time, and for no money.
When you CAPTURE the footage from the camera, the FCP settings should be EXACTLY the same as the footage you are capturing from the camera. This way, there is no compression - the compression was done in the camera. You want to avoid further compression if you can.
When you drop the footage onto a timeline, the timeline settings should be exactly as the footage was shot in-camera.
When you then move the project to FCP X, you use the 7toX application to convert the Final Cut Pro PROJECT for use in FCP X.
You do NOT convert the actual media files (in any way) they will be referenced by FCP X in the same way that FCP6 did. 7toX can be used for FCP 6 projects but there may be issues if you have any speed changes:
Only when you output your final movie, should you consider conversion - and if you have grainy night-time stuff, conversion is best avoided if possible.
Certainly avoid (what you repeatedly say you are doing) going from 1080i (interlaced) to 1080p (progressive).
Andy

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we are trying to capture Varicam footage shot at 40fps and 60fps through a AJA LHE card when we capture it not all the clip is there, we have tried setting in and out points, capture now and nothing works, and the preset is at DVCProHD 720P 23.98 Varicam. so what are work around is capture everything at DVCProHD 720P 59.94 and use the Varicam plugin to convert everything. but we should be able to just capture it, and the Deck we are using is the 1200A and it is outputting 720P 59.94.

so then what is the 23.98 Varicam setup for.
For when you shoot 24p at 23.98 with the Varicam. FCP will remove the redundant frames from the 59.94 frame rate to get you the proper footage.
if we want the other frame rates we always have to capture at 59.94 and then convert.
Then you need to do that. Capture them at 59.94 and convert to 23.98...meaning that both will be in slow motion. Unless you shot 59.94 24p (another possibility), in which case you can have the FRC remove the pulldown...redundant frames...for you.
But if it is 60 and 40 for the sake of slow motion, then you need to capture at full frame rate and convert later.
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Hi,
I have HD footage shot on a JVC camera 1080i x 720 that was saved to Quicklime on a DVD disc. I dragged and dropped the footage onto the timeline and, of course, the image doesn't know if it wants to look like 16:9 of 4:3.
I switched anamorphic on and off but that only increased the warp look.
1. Are there settings that need to be set before dropping the footage on the timeline?
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No, I am not sure.
And the footage is a FCP file and not QuickTime as I originally thought. My bad
This is what I was told by the person that gave me the DVD. I did tell her to talk to the videographer and ask him various questions...what frame rate and aspect ratio was the footage shot at.
I'm still waiting for her response.
But I can not seem to get a normal visual with the footage I have as it appears on the timeline. Shouldn't I still be able to control or remedy that without any other information?
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DVCPro HD Varicam Footage, PLEASE HELP

Hello,
I am in a bit of a tricky situation and I hope someone can help. I have 6 hours of 24p Varicam footage captured into final cut and its already been edited into a sequence. However, as I just received this footage and sequence, I realized that it was all captured at 59.94 fps and the extra frames were NOT dropped. I guess the person who captured it forgot to tick the little box that says to remove the extra frames. So now I have all 60 frames, which are simply duplicates of the 24 that the camera actually recorded.
At first I thought I could use cinema tools to remove the cadence and render out the true 24p footage for myself. However, when I opened the clips in cinema tools, the button was greyed out and I couldn't do it.
I then thought I would try it in final cut pro (version 5). So I highlighted a clip, went to tools, remove advanced pulldown. A message popped up saying that it couldn't remove the advanced pulldown because the footage I have is not DV25 or DV50.
I then thought I could recapture the footage and it would hopefully match up to the timeline. However, when I looked at my capture settings, the box that you tick says "remove 2:3:3:2 advanced pulldown from DV25 and DV50 footage". I found an article with screen captures of the correct settings to use for DVCPro HD Varicam footage and this message should say "remove extra frames etc.." but should make no mention of DV25 or DV50 footage.
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First off let me just warn you about Cinema Tools. DO NOT conform your footage to a new frame rate. This will make your problem worse. The Remove Pulldown feature relies on fields and won't help here either.
I have posted a few topics on this exact subject over the past several months. Unfortunately, the forum archives are not very deep here.
In short, there is no easy way to fix your problem without recapturing using the FCP DVCProHD 24P capture preset. For me, recapturing using the Final Cut DVCProHD wasn't a good option since I rented the deck and didn't budget a second rental to recapture.
In my experience, the suggestions I've seen posted so far are not going to fix your footage cadence. Placing such footage in a DVCProHD 24FPS sequence will result in strobing and studdering.
Here's one of my older posts relating to the topic, although in this post, my problem was compounded by the fact that I attempted to conform the footage to 24P, only to find that the new version of Cinema Tools wouldn't let me return it to 60P. Here' how I got it back to 60P:
http://discussions.apple.com/message.jspa?messageID=1070537#1070537
After getting the footage back to 60P (which is what you have now) I had to import the footage into After Effects and place it in a 24FPS composition enabling frame blending. I then rendered all the footage from AE and replaced it in Final Cut. What a pain! It was the only way I could find to get rid of the strobic effect caused by the odd cadence.
Although it didn't work for me in that incident (since all my meddling removed the Panasonic tags from the footage) there is a tool that could fix this for you without recapturing, although I'm convinced it would probably take longer than a simple recapture. Panasonic has a free FCP plugin on their Varicam support page that allows FCP to deal with redundant frame removal. It works well one clip at a time, but in my experience messes up the audio (actually deletes audio to be precise). The tool is mostly intended for slow-mo stuff where audio isn't really necessary. You can use this tool, then re-apply the audio tracks through the Add feature of QuickTime Player, or by manually re-applying audio tracks and exporting in Final Cut.
Recapturing is the simplest solution. Just take the footage offline, then recapture the clips using the correct FCP DVCProHD 24P preset rather than the 60P one. Unless you have Timecode Breaks or Cadence errors in the footage itself (I regularly get both) this should work.

At what setting should you capture 24p Panasonic VariCam footage?

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I'm very new to DVCPRO HD and have been capturing 24p footage shot on the Panasonic VariCam camera with the capture setting DVCPRO 720p/24, and the duplicate frames have been removed during capture. What is the difference between capturing 24p footage from the VariCam at 720p/24 (23.98fps) versus 720p/60 (59.94fps) in terms of the editing workflow? Are either of these settings preferable? I've heard contradicting stories on this...
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Advantage? Well, for one it was SHOT that way, so why not capture it. Beside the film look, capturing at 23.98 as opposed to 59.94 means that you use less than HALF the drive space. Less frames means less space used up.
The final output of this project will be to DVD but also 35mm film most likely.
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I know you are in Europe and all, but is there any reason you cannot shot 720p24 24PN? That is the frame rate of film, and this way you can get started and edit.
Or you can shoot 720p24 at 59.94 and convert to PAL later when there is support. I have seen some shows transferred from here to the UK and from the UK to here and they all look good.
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OK...UPDATE.
Try this. I have been told (but do not have 720p25 footage to test this with) that if you take the 720p24 Easy Setup, duplicate it and change the framerates to 25, then it will work fine. This answer is so easy and obvious that for some reason I overlooked it.
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Hi,
welcome to the forum.
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