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determining 24p vs 24p advanced footage
I have searched for answers to this question, and while I’ve found similar inquiries, I have not found an answer – apologies if I missed a solution that was out there.
I’ll keep this short:
Is there any way to determine if your footage (miniDV) was shot in standard 24p mode or 24p advanced mode?
(in the camera? on the viewer window?)
Knowing this will obviously alter my capture settings (for edit in a 23.98 timeline)~ and I’ve had some strange things happening with the footage I’ve captured thus far.
(24p footage captured at DV-NTSC setting ~ for later conversion with CinemaTools~ and 24p advanced footage captured using pulldown removal) -
9 Replies
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[clairemp] “Is there any way to determine if your footage (miniDV) was shot in standard 24p mode or 24p advanced mode?”
Step through your footage frame by frame. 24p will be 3 progressive frames followed by two interlaced frames. 24pA will be 4 progressive frames followed by 1 interlaced frame.
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thank you for your response.
In a fit of shame I’m going to ask you – do you mean stepping through the footage in the camera or in FCP (I have a deck that I use for capture). I don’t have a remote for my 100a so I’m trying to figure out how to go frame by frame in-camera.
Also, same fit of shame, how can you tell if something is interlaced or progressive? I feel like a moron asking, and I know WHAT interlaced vs. progressive means, but I would greatly appreciate knowing how to tell which is which. I have been dealing with this for a few days and am going nuts.
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Well I think I may have figured this out and would love some confirmation.
I loaded a tape (24p adv) into my deck, opened up the Log & Capture window, started playing the footage and then paused it, restarting it frame-by-frame using the arrow keys.
Four frames are “smooth” and the fifth has that “interlaced look” ~ which, um, I assume to mean that that frame is interlaced. (jagged lines, every other one off-set from the one above and below)When I put in a tape that I know was shot in standard 24p, I see three “smooth” frames and two of those jagged frames, which makes sense given the 2:3:2:3 cadence.
I think I figured it out, yes? I can look at the footage and see what I’ve got before I capture.
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[clairemp] “Well I think I may have figured this out and would love some confirmation.
I loaded a tape (24p adv) into my deck, opened up the Log & Capture window, started playing the footage and then paused it, restarting it frame-by-frame using the arrow keys.
Four frames are “smooth” and the fifth has that “interlaced look” ~ which, um, I assume to mean that that frame is interlaced. (jagged lines, every other one off-set from the one above and below)When I put in a tape that I know was shot in standard 24p, I see three “smooth” frames and two of those jagged frames, which makes sense given the 2:3:2:3 cadence.
I think I figured it out, yes? I can look at the footage and see what I’ve got before I capture.”
That’s it. One other tip, its easier to tell the interlaced frames from progressive if there is some motion in the frame (i.e. somebody walking past, a car driving by, etc.)
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thank you, Matt!
really appreciate having someplace to go, and hopefully this post will help someone in the future with the same question…
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[Dave LaRonde] “Because when you start & stop rolling the camera, it messes with the pulldown cadence. When using advanced pulldown capture, FCP defaults to capturing at 29.97 if it encounters any anomalies in the pulldown cadence — that way, you can still remove the pulldown in Cinema Tools.”
Not true. Indeed if you try and capture 24p and 24pA on the same tape it will mess with the cadence… but the DVX – unless you preview past shot stuff or turn it off before you stop recording will keep cadence true over multiple clips.
Will I agree that there still MIGHT be an odd chance cadence will bust? Yes – happens a very small percentage with me. Clean heads and a well dusted DVX will eliminate the problem.
[Dave LaRonde] ” And if you want to be extra-special careful, set your in point for capture on the 0 or the 5 in the timecode. That way you allow FCP to align up on the A frame, and you’re assured that FCP will remove pulldown as you capture, or Cinema tools will do a nice job of removing the pulldown.”
That’s just silly.
CaptM
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Whaaaa???
Who said anything about using the DVX to log and capture? (Tongue planted firmly in Cheek…) If you didn’t know, any deck will read the timecode off the tape regardless of what it was shot on.
Plus, YOU were the “Big Boy” who suggested logging and capturing every shot… not me.
CaptM
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[Dave LaRonde] “Because when you start & stop rolling the camera, it messes with the pulldown cadence.”
Sorry Dave
I am with the Capt. on this one.
Every time you start and stop the camera the cadence is regenerated. IT has to be.“Capture individual shots only, making sure your in and out points lie within the shot. “
with 24p footage this will also force FCP to start on the O or 5 frame so that it can remove the cadence properly. IT does not work with” capture now because FCP does not know where the capture is going to end. Therefore it does not know when to stop skipping the redundant frames.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows -
[Dave LaRonde] ” I’m very glad that you enjoy taking chances, and that you have extra cash lying about to fix your camera’s tape transports”
I thought that is what tape decks are made for?
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows
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