EX-3 1080 24P is recording with 3:2 pulldown?

[Tim Kolb]

what NLE software doesn’t handle 23.976 psf these days?

I only use HQ mode…so I assume that SD mode is 25 Mbits? If so, it’s basically HDV, and I would guess that’s why it would switch.

TimK,
Director, Consultant
Kolb Productions,

[Jim Watt]

So in the HQ mode the 24P is 24psf and not true or pure 24P?

thx…jw

Producer/DP, HD series, “Discoveries…America”, “Discoveries…Ireland”, “Discoveries…Spain”,
“Discoveries…Argentina”, Discoveries…India”, “Discoveries…Asia”, “Discoveries…Africa”

[Tim Kolb]

psf or progressive segmented frame is how the frame is sent, not how it’s imaged.

on the EX camcorders, progressive is progressive. psf helps some monitors and vtrs deal with the footage through SDI

TimK,
Director, Consultant
Kolb Productions,

[David Burch]

As far as I know, in HQ mode the 24p settings are true progressive. I haven’t shot in SP so I wasn’t aware it applied a pulldown, but I guess it makes sense when you figure that SP mode is basically HDV.

[Roger Hendrick]

It records to SxS in HQ mode as true 24p but the signal out of SDI is 24psf (if you apply the menu setting).

Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring

[Roger Hendrick]

Just another note… The EX series 24p is actually 23.98 (you have to go F900 to get 24p – if you really want it) and for any NTSC workflow, 23.98 is the appropriate frame rate. I believe it’s still considered a ‘pulldown’ because it’s 24/1.001 so for film you’ll need 24 frames but for anything HD in the NTSC world you use 23.98 (for acquisition/post and DI) and of course 25p for PAL folks.

Roger Hendrick
The Airship Factory
http://www.airshipfactory.com
HD Video Production – Blu-ray Authoring

[Jim Watt]

Thanks to everyone for the insight. Our client can use the 1080/24P in their system, so it works.

thx…jw

Producer/DP, HD series, “Discoveries…America”, “Discoveries…Ireland”, “Discoveries…Spain”,
“Discoveries…Argentina”, Discoveries…India”, “Discoveries…Asia”, “Discoveries…Africa”

[David Burch]

Yep…good point to remember 🙂 However, I don’t believe 23.98 is considered “pulled down” but rather drop frame. Pulldown is when fields are repeated in order to conform one frame rate to another; I don’t believe any frames or fields are being repeated in a 23.98 timeline, although it probably is necessary to repeat a frame every couple of thousand or so when transferring to film. I’ve never done a film-out so I’m not sure how that conversion works.

[Tim Kolb]

Yes, I’d agree with David.

I would not refer to 23.976 fps as a “pulldown” in the context that term is traditionally used-defining a system of duplicating frames. It’s a re-clock, or depending on how the frames are NUMBERED (I’ve spent some time trying to convince some people that “drop frame” is not actually dropping a physical frame), it could be referred to as drop-frame.

Transferring 23.976 to film would simply mean imaging the film at the clock of the video playback…and then projecting it at 24 fps. The difference is far smaller than 24 to 25 fps when film is transferred to PAL…and that’s how that is done with some audio pitch correction.

As far as an F900…I didn’t know that would do 24 fps. I shot on an independent feature some time ago on an F900 and don’t recall seeing a 24 fps setting. We shot at 23.976psf.

TimK,
Director, Consultant
Kolb Productions,

[John Sharaf]

Tim,

Yes the F900 can shoot 24p in addition to 23.97fps. This way you can use the camera to shoot scenes or shots that when filmed out will drop into film A and B rolls in sync. Obviously whatever sound is on the video would not be in sync.

JS