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editing HVX200 1080 24p FCP timeline problems
I’m having trouble figuring out the best way to approach this project. I’m running FCP 6 on an iMac and we’re making an HD short for a presentation. (Either to run off a computer + projector OR as a DVD)
We have a lot of footage from two cameras:
Canon HV20 @ 1080 24p
Panasonic HVX200 @ 1080 24pAI had assumed (wrongly, I guess) that shooting at those settings means that when I go into FCP for editing, the sequence would be 24 frames. But both camera’s footage seem to natively run in a 29.97 sequence. (I have yet to try them in the same sequence as the footage is in two locations.)
So my question is what is best workflow for editing? do I edit the footage in 29.97, and will they run in the same timeline, or do I export to something like ProRes 24p?
I wouldn’t mind doing it in 29.97, assuming they work well together, but I think I’m seeing artifacts and or motion blur, etc….
At first I was annoyed to see the HVX footage come out of the log and transfer window as 29.97 and tried to use Cinema Tools to correct. I got the “this file has temporal compression” message… how can i avoid that to test if reverse telecine would work to correct artifacts?
Thanks for any advice guys.
Dan Schanler
NYC -
9 Replies
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Two different codecs (HDV, DVCPRO HD) with two different frame sizes (1440×1080 and 1280×1080 respectively) with two different ways to get to 24p.
P2…you need to make SURE you shot 1080pA 24. Then make SURE you check REMOVE PULLDOWN from the drop down menu>preferences in the L&T window:
With Canon HDV and the “24f” mode (Canon’s special way of doing 24p) you need to follow these instructions:
https://support.apple.com/kb/HT2410?viewlocale=en_US
https://creativemac.digitalmedianet.com/articles/viewarticle.jsp?id=188809
Now…since you want to MIX these formats, after you remove the pulldown on both to get both to 23.98, you would be wise to convert them both to ProRes, so the codecs match. Editing GOP formats and I-Frame formats will require rendering of some sort.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Thanks Shane, very helpful.
I’m pretty clear on the HDV. That Apple article was good, and I’ll use Compressor instead of Cinema Tools for the reverse telecine – as a follow up, do I use this same method on the HVX footage after L&T?
Because after L&T (and yes, I checked the remove pulldown box), I still have footage that’s 29.97. And the reverse telecine just wasn’t working in Cinema Tools.
So should I repeat the process in Compressor with the HVX / DVCPRO HD footage?Also, as you mentioned they are different frame sizes, so which ProRes conversion would be the best way to go?
I really appreciate the advice.
D
Dan Schanler
NYC -
If you had that option checked, and it didn’t remove the redundant frames, then most likely you shot 1080p24, not 1080pA 24…with the frame rate set to 24. That option won’t work on regular 24p. You can see how compressor does via a reverse telecine…run a few tests. If it works, then do that as a part of the conversion to ProRes.
And yes, you want to get everything to the same codec and frame size, and since ProRes is full raster, both formats will be converted to full raster.
ProRes, not ProRes HQ. HQ is for formats larger than 1080p, like 2K.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Ok, great, thanks so much.
It took quite a while to L&T all the HVX stuff, so I also wanted to make sure that I don’t need to redo that.
Just to clarify: after all is done, such as converting the HDV and DVCPRO HD into ProRes, after the reverse telecines, I will be hopefully editing a sequence in 23.98 that has the same frame size and will be artifact-free?
D
Dan Schanler
NYC -
What format is artifacting? The HDV format has artifacts all the time…nature of the beast. I get really odd pixelated footage on all of my movement shots, at least every 5 seconds. DVCPRO HD? Shouldn’t be any.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Those “artifacts” are interlaced lines. Your computer monitors are PROGRESSIVE, and can’t show interlacing properly. To see what you really have and how it really looks, you need an external HD monitor connected, via a capture card, or with DVCPRO HD you can go firewire to a DVCPRO HD device (Deck, P2 Gear, P2 Mobile) to a monitor.
Never judge the quality of your imagery on your computer monitor. Like never ever.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
yeah in HDV I definitely noticed, but also the DVCPRO HD after L&T looked like it was extremely sensitive to movements. Just an actor lifting an arm up looked distracting. Hopefully reverse telecine or convert to prores will fix up.
Dan Schanler
NYC -
Thanks Shane,
had one more follow up – in terms of editing coherently, what’s the best way to use the two different frame sizes of HDV and DVCPRO HD in the same timeline together? I thought that they were 1440×1080 (HDV) and 1280×1080 (HVX), but I’m noticing that the HDV is actually 1920 x 1080.
When I make a sequence with the HDV footage, and then use the HVX footage, the HVX footage is blown up to 150%.
any suggestions for better ways of going about it?
D
Dan Schanler
NYC -
Convert both to ProRes. I would suggest converting you HDV to DVCPRO HD, but many people don’t like losing those 200 scan lines of resolution. I never had a problem with that myself, but now that you have ProRes, use that. That is full raster.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def
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