Audio snyc problems in 24p, really irritating

[Shane Ross]

How are you importing? Straight 29.97 or are you trying to capture with pulldown?

If your footage is 24P, and not 24PA, then you should be capturing normally, with no pulldown.

Just a thought…

[Nick Incorvaia]

well, Ive tried to import DV ntsc 24fps anamorphic, as a custom setting for coming in off the 3:2:3:2 config that the XL2 shoots…. Id like to edit it on a 24 frame timeline. but I also imported at 29.97. when I import 24p, the sync is off. When I import 29.97 the sync is on, but falls off when I render it to the 24p timeline.
Trouble is, some of the footage I brought in at the 24p setting was fine, some is off.

Dual 1.25gig G4, 2 gigs of ram, tiger, FCP 4.5, XL2, Sony dsr-45 over FW.

[Shane Ross]

If you shot 24P, the framerate you shot at was 29.97, not 23.98. You should be importing ALL your footage at the 29.97 frame rate.

Only 24PA (advanced) should be captured at 24fps (23.98).

As for why it is falling off when you put it in a 23.98 timeline and render, you have me. I have only worked with 24P footage at the 29.97 framerate.

[Dom Silverio]

24p with traditional pulldown or Advance pulldown is basically 23.976.

[Shane Ross] “Only 24PA (advanced) should be captured at 24fps (23.98).”

It is not that only 24pA should be captured at 23.976 it is just that FCP does not support traditional pulldown removal via firewire. You would need Aurora card to do it via SDI/composite/etc.

[Gary Adcock]

Q[MPE] “24p with traditional pulldown or Advance pulldown is basically 23.976.”

How about IT IS 23.98 ( 23.976) — no assumptions or guesses

[Shane Ross]“Only 24PA (advanced) should be captured at 24fps (23.98).”
It is not that only 24pA should be captured at 23.976 it is just that FCP does not support traditional pulldown removal via firewire. You would need Aurora card to do it via SDI/composite/etc.”

Look Shane — your neg cutter is looking for a 29.97 cut list because it makes more work for him, hence he gets paid more.
Avid traditionally used a 29.97 cut list “cause Avid did not think NLE editors would understand the process of removing the 3:2 cadence.

you have a really easy solution here– FCP edit the content at 60i and send a CT 29.97 cut list to the jerk.
less hassle for you more work for him. But charge him extra for the “service” or find another cutter–I bet there is certainly more than 2 in vancouver. (or check in Seattle / Anchorage)

gary adcock

Studio37
HD and Film Consultation

[Dom Silverio]

[gary adcock] “How about IT IS 23.98”

You are right of course.

[gary adcock] “Avid traditionally used a 29.97 cut list “cause Avid did not think NLE editors would understand the process of removing the 3:2 cadence.”

Actually, Avid Film Composer has been 24p [NOT even 23.976]. 30i editing was an option for those willing to edit in that mode instead. But Film Composer’s success in Hollywood is largely in part because it was a true 24p system with 100% accuracy – unlike other systems at that time that may have been a 1 or 2 off.