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24p normal AE workflow
I know there’s a plethora of info on this topic but I can’t find an answer. Here’s my standard workflow. Shoot on dvx100 @ 24p normal, import into FCP (DV NTSC preset), after edit is complete, export reference movie for import into AE for graphics/color correction.
The problem is that interpreting the 3:2 pulldown for a clip in AE results in correct pulldown for some of shots but not all since the split/whole frame sequence changes at every cut.
So, do I have to make my cuts in FCP very specifically on the same whole frame so the 3:2 pulldown in AE works the same across all shots? Can this be done without an NTSC monitor?
Or if I export a self-contained quicktime movie from FCP, will this clear up my 3:2 problem?
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5 Replies
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i’m not a fcp user, so i can’t tell you specifically how to do this…. but what you want to do is remove the pulldown prior to editing the footage and work only with the progressive footage through all stages of the project. then at the end, if you need to bring it up to 29.97, then add a pulldown back in for final delivery.
if you don’t work this way, you’ll encounter the issue you have, where you can’t remove the pulldown once it’s been edited. in ae, if you needed to remove the pulldown, you would need to split the clip back up at the edits and interpret each shot separately to remove the pulldown, then reassemble the piece to render back to 29.97 for fcp… a lot of extra work.
you may be able to simply remove the pulldown at capture or by working with the footage is a 24p timeline, but i’m sure fcp has a recommended 24p workflow in the manual somewhere….
Kevin Camp
Senior Designer
KCPQ, KMYQ & KRCW -
Hi Dave, I was specifically hoping that you’d respond to my post. I know from reading many of your past posts that you are a critic of the popularity of 24p. Could you tell me what your typical workflow is like… what frame rate you tend to shoot at and transfer methods between programs.
I do like the look I get from shooting 24p, but it causes so many headaches…
Also, from what I understand, shooting DV, with a camera such as the dvx100, is always going to tape interlaced, even when shooting something like 30p, and as such, is edited in a lower field first timeline. So the only true way to get progressive footage (to intergrate easily with motion graphics) is to use software like Cinema Tools in FCP or twixtor or the like in AE? -
I don’t know if concur with your advice Dave? To me I see no reason not to leave your camera at 24p unless you have a reason not to. You can always work as if it was 30p/i and not worry about producing a 24p master unless you’re lucky enough to need one?
It keeps your options open and you can take advantage of peoples prejudices in favour of the 24p without costing you anything, no-one will know that the cadence is broken even if they really can tell 24p from 29.97.
What do you think? I appreciate where you’re coming from and agree a lot of time and resources are wasted on 24p workflows mostly based on buzz and hype but why not keep your options open?
Glennser -
Thanks for the advice. The majority of work I do needs to be available for both web distribution as well as DVD so using a 30p or 60i workflow seems like the smartest path to take. One question regarding Cinema Tools, if I do choose to shoot 24p. Does the reverse telecine work the same for either 24p standard (3:2) or 24p advance (2:3:3:2). Or does CT automatically know how to handle them?
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Thanks for clearing up some misconceptions I had about encompassing 24p into my workflow when necessary Dave. Sometimes it takes someone with experience to explain in laymen’s terms what manuals and fragmented forums can’t.
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