Import 24 p

[Ryan Holmes]

What camera did you shoot this on? Is the originating material shot at 24fps or 29.97?

It sounds like the material is 29.97 that you’re trying to playback at 24, hence the distorted audio because you’re playing the material back at a slower than original rate.

If it’s 29.97 material you should capture it that way. If you want to convert it to 24fps after capture you’ll have to transcode the footage.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Doug Swift]

Ryan,

I shot this on a Sony FX1000 at DV 24p. I’ve been using Premiere Elements, which is totally incapable of handling DV 24. This was my generating reason for moving up to Pro–which all works out, because I’m working on a large project, and I really needed to be on Pro anyway. But FIRST I need to capture the video properly.

Many thanks!

Doug

[Ryan Holmes]

Yeah the struggle is you shot a pretty gnarled up format to start with. 24p on the FX-1000 is not true 24p (or 23.976 for us digital junkies). It’s actually a 30i (or 29.97) video stream that’s having a pulldown applied to it so that it “reads” as 24. Suffice it to say, there’s a lot of voodoo magic going on the moment you hit the record button.

I wouldn’t make too big a deal about 24 vs 30 as giving you the “filmic” look. The filmic look is not simply a frame rate to be shot, thereby giving you an extra edge. For your project I would standardize on 1 frame rate. From the sound of it, I would pick 29.97. Once you are done with everything you could create an exported file that is 24, but for editing and work I’d stick with 29.97.

If you capture you’re footage as DV – NTSC 48kHz (either standard or widescreen depending on how you shot) then you should be fine. I’ve never been a fan of how the HDV cameras tried to mimic 24fps. It caused a lot of hurt in the mid 2000’s as everybody chased this notion of “filmic.” The frame rate isn’t the sum total of the filmic look. Shoot DV. Capture DV.

From your thread on DV info, they seem to be telling you the same thing:
https://www.dvinfo.net/forum/sony-hdv-dv-camera-systems/517083-best-sony-fx1000-can-do.html

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Doug Swift]

Ryan,

Man, you nailed it. I swallowed all that “filmic” stuff whole, and what a mess this has been.

I just had a long chat with Adobe, and I learned that Premiere Pro just reads whatever format the source material is in. And you’re right, even though I shot in 24 p., the camera is sending to PP in 29.97.

The support person was able to go into the software and click a few settings–he took control of my screen, so it went pretty fast–and did manage to get rid of the artifacts–if that’s the right word–that were junking up the images.

Still, I’ll just switch over to 30 p. from here on out.

This has led me to another issue that you might be able to help me with. I kind of slid into this documentary project. I’m ten hours in, and I think I’ll shoot another twenty hours. When I started, I was on PE and a computer that couldn’t handle HD. I just got a more powerful computer. The last shoot I went out on I used HDV 30 p. I really liked it. Obviously it’s going to look different than the DV stuff. I cut some of it together, just to see how much difference, and it’s there, but I’m thinking not so much that a good story and some post production couldn’t compensate for.

Any thoughts?

Doug

[Ryan Holmes]

My general approach is to shoot the best quality image you can from the start. I’ve never heard anybody complain about having too much resolution or too much image. If you shoot HD you can always make a SD master at the end. If you shoot SD it’s much more difficult to go to HD.

There are some tricks you can use to get SD to blend with HD. So it’s not impossible, but it will look a little bit softer than the HD you shoot. I would recommend that the next 2/3 of the shooting be done in HD at 30p. It will save you a lot of headaches down the road.

Ryan Holmes
http://www.ryanholmes.me
@CutColorPost

[Doug Swift]

Great advice, Ryan. I can’t thank you enough.

Doug