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Log and Transfering 24p footage becomes 29.97 in Final Cut Pro
I used a Canon HF11 Vixia AVCHD camera to capture footage at 1080i24p. I am a big fan of Final Cut so when I used the Log and Transfer to get my footage into Final Cut I ran into the problem of incorrect frame interpretation.
Once all my footage was captured into Final Cut it had a frame rate of 29.97 and had become interlaced.
I am sort of a noob when it comes to frame rate and capturing footage but I am wondering how I can get the footage I recorded as 24p to capture into final cut with a 24p frame rate?
For now I am using a third party plug-in to deinterlace all my footage and convert it to 24p but it’s taking a lot of extra time I wish I could spend editing.
Any suggestions would be a big help.
Thanks,
Mandi -
4 Replies
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Two links for you to read:
https://support.apple.com/kb/HT2410?viewlocale=en_US
https://creativemac.digitalmedianet.com/articles/viewarticle.jsp?id=188809
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
do you see any interlacing when you view the source QuickTime in your QuickTime player? If not, chances are your camera is just pulling down your 24p into 60i. And it wants to stay that way. If your camera shoots 24p Advanced, you’ll want to use the advanced pulldown removal in your capture settings. This will make your end clip 23.99 fps
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Thanks for the help. I was wondering if you knew of any good material that might help me understand Frame rates more? Also could you elaborate on what you mean when you say 24p advanced?
Thanks. -
Differences between 24p and 24pA in DV
Quoting Graeme Nattress’ article found at Ken Stone’s site:
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html
“24p Normal
When shooting in 24p Normal, the camera is adding normal standard 3:2 pulldown to the video, which results in 24p footage designed to work with any non-linear editing suite and it will play back and look good directly to any NTSC monitor. You can use 24p Normal footage just like normal video from any DV camera, and everything will work fine, but obviously, the footage will have a film look to it. If you’re just going straight back to NTSC video tape, then using 24p Normal is the simplest, easiest workflow. No special treatment of the footage is needed and you really can just edit as normal.
24p Advanced
Before you shoot 24p Advanced, you should fully understand it’s workflow implications. If you watch 24p Advanced footage before you’ve removed it’s pulldown, then it will look a bit jumpy and jerky. This is totally correct, because 24p Advanced is not designed to be viewed as is.
To use 24p Advanced and gain all it’s advantages, you should know that you cannot edit it as is (as this would leave it’s jerky looking pulldown intact), but you must first remove it’s pulldown. Final Cut Pro will do this for you, leaving you with the 24p footage without any of the extra “padding” fields that are added to make it’s frame rate 29.97fps. Now that your footage is 23.98fps, it must be edited on a 23.98fps timeline, and this can cause problems if you, for instance, want to include other footage, B-Roll, or stock footage, that comes from a different source. However, once you have your finished edit at 23.98fps, you can make a 24p DVD, which will allow you to compress your MPEG2 less than if you were making a normal 29.97fps NTSC DVD, and hence attain higher picture quality. Similarly, if you’re making a web movie, you will find it easier to get a higher quality result from 23.98fps media than normal NTSC media. 23.98fps movies are also easier to take out to film that 29.97fps movies.
If you are editing in a 23.98fps timeline, Final Cut Pro will add pulldown on the fly, over Firewire, so that you can see your movie on a normal NTSC monitor. Similarly, it will add pulldown when going back to DV tape. However, this will not work on a non-DV format output, say to Digital Betacam, and slower Macintoshes do not have the power to add 3:2 pulldown in realtime, falling back to lower quality pulldowns which although are not too bad while editing, will not make the final project look as acceptably good on television as a final product.”What that tells me is that 24P just adds a “look” of 24 fps to the footage that resembles that of telecined film, but that you work with normally at 29.97fps. Or, if you want to, you can add a reverse telecine and work at 23.98. Either way.
BUT, with 24PA, the footage looks jittery when played on the tape. So sure, you can work with it and output it to tape, but that tape is useless to anyone OTHER than someone who can capture it and perform a reverse telecine to work with it. It will not work as a Master tape for any viewable purpose: Broadcast TV, projected video from tape, a master tape for dubbing purposes. So, in effect, it is useless as a tape master, and should be avoided.
If you happen to have a 23.98 sequence and need to output a 29.97 master, any good capture card (www.aja.com, http://www.decklink.com) will add the proper pulldown when it outputs.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def
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