24p up to 59.94

[Jeremy Garchow]

Let me get this straight. You are editing @ 59.94?

If you want to add 3:2 pulldown to 23.98 720p material, I have found compressor to do this very well.

In all of your deinterlace settings turn everything to fastest quality and frame rate to 59.94. I can dig up the exact settings for you if you’d like. This adds perfect 3:2 pulldown to 720p24N material.

For the HDV stuff, you can probably just capture @ 1080i so the pulldown is captured with it. What camera was it shot in?

Jeremy

[Adam Smith]

[Jeremy Garchow] “Let me get this straight. You are editing @ 59.94?”

Yup. Shot and editing in DVCProHD at 720p24 over 60i. I need to provide a 59.94 master quicktime for cinema advertising.

I’ll run the overcranked footage through compressor tonight and see if I can get it all dialed in, thanks for the info!

The HDV footage is 720p24 from a JVC HD-110, I can either suck it in via firewire or take analog component through my Kona LHe if I it’s better/easier to transcode or add pulldown via hardware. I’ll have the camera tonight so I haven’t been able to test it yet, but from what I can tell from the camera settings this is hard-24 footage.

Thanks for the help!

-Adam

—
Video Photographer / Avid Editor / Final Cut Neophyte

[Jeremy Garchow]

[Adam Smith] ” or take analog component through my Kona LHe if I it’s better/easier to transcode or add pulldown via hardware.”

If you do it this way, you will be capturing 720p60, which is what you want and that’s what I would suggest.

Jeremy

[Jeremy Garchow]

[Dave LaRonde] “I’d watch out for that. To my knowledge, all NTSC HDV is interlaced and has a 29.97 frame rate. “

JVC is 720p

[Adam Smith]

[Dave LaRonde] “I’d watch out for that. To my knowledge, all NTSC HDV is interlaced and has a 29.97 frame rate. Various cameras have various schemes to make 29.97 footage look like 24p, and few include adding 3:2 pulldown.”

Yeah, I’m going to have to do some poking around before I know for sure, but the manual at least makes it look like the HD formats are flat 24/25/30p. For the NTSC (SD) formats it spells out that it’s 24p over 29.97, but the HD formats make no such mention.

What sort of pitfalls am I looking at if the footage is indeed 29.97 and not 24? I’d assume I’d first need to remove the pulldown and then add my own back in as I bump it up to 59.94?

—
Video Photographer / Avid Editor / Final Cut Neophyte

[Jeremy Garchow]

While I have never worked with HDV before, I do know that if you output 720p video over any baseband HD video connection (Component, SDI, whatever) it will conform it to 720p60. You wouldn’t be able to watch it otherwise as the 720p spec calls for 720p60. SO, if even if it gets recorded to JVC proprietary format on to tape, if you play that tape through an HD video connection, you will get 720p60 video. Since that’s where you are working, that’s what I would do.

Jeremy

[Adam Smith]

Oh. Well that would rock.
Guess I’ll just plan on going component in – the footage is already gonna be a mis-match so throwing a little analog switchover in the mix isn’t going to hurt me too much.

And for the few slow motion clips I’ll run it through Compressor.

Thanks much!

—
Video Photographer / Avid Editor / Final Cut Neophyte

[Jeremy Garchow]

[Adam Smith] “so throwing a little analog switchover in the mix isn’t going to hurt me too much. “

You should be okay with that.

[Adam Smith]

Thanks for the help Jeremy!

I finally gave up on machine control of the HD110, but beyond that it’s all working out well.

– Adam

—
Video Photographer / Avid Editor / Final Cut Neophyte

[Jeremy Garchow]

[Adam Smith] “I finally gave up on machine control of the HD110, but beyond that it’s all working out well. “

Again, I haven’t worked with HDV before, but I know with SOny decks you have to put them in DV mode, then FCP could recognize and control the deck. Perhaps it’s the same with the JVC?

Glad at least the capturing is working, somewhat anyway.

Jeremy