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capturing 24 p into FCP
Hello,
I got a client who wants me to edit a drama piece, shot with a Panasonic DVX 100 in 24p-progressive scan mode. I want to know if I can capture and edit the material in FCP 4.5 with my usual settings of DV Pal (I’m in Europe), 25 fps, 48.000 kHz? What are the correct settings for a setup like this?
I was also wondering if I could use a Sony VX 1000 to capturing this material or is it best to use the original camera?
Any help would be appreciated,mantrafilm
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4 Replies
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He’s going to be shooting NTSC in reality, so it would be best to edit it as such… i.e. capture it as NTSC or if the shoot was using the advanced pulldown mode (24pA) you can remove the pulldown during the capture process. You’ll need an NTSC monitor to see this material externally, and you’ll need an NTSC deck (DSR-11 comes to mind) to record back to tape as well.
What I’m saying is STAY in the native format for the best end results. If a PAL version is needed, make it in the end as a standards conversion of the master.
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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I think this article is relevant:
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html
Jason
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thanks for your reactions,
I don’t think I need to use NTSC settings. Editing system presets, tapes, cameras and final broadcast media are all PAL, the standard in Europe/ Nl.
The article explains some things, but I don’t know what goes for my situation; everything’s PAL here so I’ll try with the DV PAL 24@25 or the DV PAL 24 presets. But what if, (next to mpeg 2 export) I want to print my final movie/ or sequence to DV-tape? -
You should edit in NTSC… do a standards conversion in the end. Graeme Nattress’ plugin works great… https://www.nattress.com
Jerry
Apple Certified Trainer
Author: “Jerry Hofmann on Final Cut Pro 4” Click here
Dual 2 gig G5, AJA Kona SD, AJA Kona 2, Huge Systems Array UL3D
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