DV50 @ 24p into FCP

[Jeremy Garchow]

Okay, Peter. You shot DV50 24p Normal and you want to work in a 23.98 timeline? Why? We’ll start there.

Jeremy

[Peter Sassi]

Jeremy, with all due respect, why do you want to know that? It’s an exploration of the HVX’s possibilities – that’s all.

All i want to do is to know how to get the 29.97 (P2 Import) sans Cinema Tools, into a 24 or 23.98 timeline.

Is that way too much information to ask? PHEW! Why do i feel like the next step is the hot lights and rubber hoses? I thought this was a forum for a free exchange of information…

Cheers,

Peter

[Jan Crittenden livingston]

[Peter Sassi] “1) To me, the difference in “look” when shooting DV50 24p and 60i does not seem as dramatic as it is with DV25,(The image itself is absolutely superior though. “

It is different. And it does indeed look different than 60i. It may be that the additional color resolution is filling in a little that used to be different, who knows.

[Peter Sassi] “What I am trying to understand is exactly HOW, one sets the timeline for the removal. With tape, you do it upon CAPTURE, right? With P2 and import, I have simply set the timeline for 23.96fps, and it is obviously the wrong procedure as it chugs, so as I said in a previous post, short of Cinema Tools, how do I remove the pulldown on a set of shots that I have imported? “

The Capture setup is set for DVCPRO50 at 29.97. And if you did not capture in 24PA then you will have to deal with Cinema Tools to remove the excess frames. In 24PA you merely go to the Sequence set up window and click on the remove 2:3:3:2. There is no automatic way to remove the standard 24P in FCP. So let’s say that you do this set up properly, and the footage on the P2 card is in 24PA, then once you do the P2 import you will have the clips sitting in your bin at 23.98. Or if you have shot 24P, you will then have to use CinemaTools to remove and then import the new files at 23.98.

It is handled much the same as the DVX100 footage except it is set up as DVCPRO50.

[Peter Sassi] “Thanks for your patience. Sometimes I do miss face-to-face communication 😉 “

Me too, hope this helps,

Jan

Jan Crittenden Livingston
Product Manager, DVCPRO, DVCPRO50, AG-DVX100
Panasonic Broadcast & TV Systems

[Jeremy Garchow]

Sorry to offend, Peter! I posted to help and not hurt. 😀 I was asking simply because I was trying to figure out your workflow. Shooting 24p ADVANCED will yield better (and easier) results if you are planning on working in a 23.98 timeline (for which their are various pros and cons to working as such). Shooting 24p Normal will involve some steps to get you to 23.98 (namely cinema tools and a reverse telecine). it is easier to edit in 29.97 when shooting 24pNormal. You still retain the ‘film look’ or ‘softer look’ as you say, but you are editing in 29.97 instead of 23.98. I am not questioning you or your ability, I want to help you understand your workflow needs and to do a good job of that, I like to ask questions to better understand you and your needs. Long live the free exchange of information.

Jeremy

[Peter Sassi]

Jan & Jeremy,

Sorry if i got overly sensative there. I was on a deadline and thought i could pull off something i wasn’t really ready for. Thank you both for your help.

I see there is more involved in getting that “film look” for lack of a better description with the HVX than the DVX. I was sort of mixing my metaphores there when asking about 23 or 24 timelines and i think i helped confuse myself.

-peter

Don’t help me or serve me, but let me see it once, because I need it. Don’t work for my happiness, my brothers – show me yours – show me that it is possible – show me your achievement – and the knowledge will give me the courage for mine.

Ayn Rand
from ‘The Fountainhead’