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In a bind.
We’re in a bit of a bind here. We shot in 720 / 24p on a DVX 100a. Captured to FCP 5 and need to master to DVCam. Apple says that 24p cannot be exported via Firewire (which is obviously true since I have no playback to an NTSC monitor, nor am I able to master). Black Magic says they have no Decklink that will handle our specs (not sure if that’s completely true) I would want a card that output either component or SDI. I’ve thought about creating a new project at 29.97 and re-capturing the program. That would be a last resort.
The problem I’m having with all of this is grasping the technical aspect of why FCP allows you to import 24p but not export 24p. I don’t really need the full progressive video lesson, I understand pulldowns and framerate, ect. Just wondering what Apple’s roadblock is here? What am I missing?
Thanks.
Tony Mazzarella
Mazzarella Bros. Productions, Inc
Bristol, CT USA -
19 Replies
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Contact the folks at AJA Video Systems, I’m thinking they have something that can help. I know the Kona 2 will work, but it’s possible the Io series may also work. They’re in California so it will be 9am Pacific when they are available.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
Now editing “Good Eats” in HD for the Food Network
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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[tonymazz] “The problem I’m having with all of this is grasping the technical aspect of why FCP allows you to import 24p but not export 24p. I don’t really need the full progressive video lesson, I understand pulldowns and framerate, ect. Just wondering what Apple’s roadblock is here?”
24 frame video on tape does not exist in the Standard Def world. 29.97 is the time base for all NTSC and all footage needs to playback at that time base, hence the need for adding “Pulldown” or Telecine. FCP does allow you to export footage at 24p but as Walter said it requires more than what you have to accomplish. Currently the only 24 frame that can be captured to tape at 24p would be on a Panasonic D5 Deck. (it is also possible on Sony HDCAM SR also)
gary adcock
Studio37
HD and Film Consultation -
On the DVX100a, did you shoot 24p or 24pA (advanced). Is your timeline set to 24.00fps or 23.98fps. It should be 23.98fps. How did you remove the pulldown from the captured clips? Why do you want component or SDI for going back to DVCAM – they will only loose you quality over a firewire output to DVCAM.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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[Graeme Nattress] “Why do you want component or SDI for going back to DVCAM – they will only loose you quality over a firewire output to DVCAM.”
Yep, this is very true. Component or SDI capture back to a DVCAM deck will add another layer of DV (5:1) compression to your master. Going back out to DVCAM via Firewire will result in a lossless transfer back to the deck so long as you worked in a DV timeline.
Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.comNow in Production, “The Rough Cut,” https://www.theroughcutmovie.com
Now editing “Good Eats” in HD for the Food Network
“I reject your reality and substitute my own!” – Adam Savage, Mythbusters
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I was sort of more referring to the extra 4:1:1 to 4:2:2 back to 4:1:1 process that will go on, which will reduce colour quality slightly, but indeed, if you play out to SDI or Component from a DV timeline, you’re getting a double DV compression also. Ouch.
Usually the only thing that stops 24p playout is if the timeline is set to 24.00fps rather than 23.98fps. Do that, set playback to high quality, pick 3:2 and you’re laughing!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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Thank you all for the input. I was considering SDI or component over firewire just to get myself out of this current situation as I didn’t have all the information I needed to get a grasp on the situation.
The program was shot at 24p advanced.
I now understand what we need to do at the beginnning when we capture 24p using cinema tools and the setup for advanced pulldown, it just sucks that I didn’t consider this ahead of time. Looks like we’re going to have to go back and re-capture!
Cheers.
Tony Mazzarella
Mazzarella Bros. Productions, Inc
Bristol, CT USA -
Use the conform option in Cinema Tools to conform the 24.00fps footage to 23.98fps, and then remake your edit on a 23.98fps timeline (if that’s what it is to fix things). That should work for you without recapturing.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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I’m giving this a try now… thanks.
Tony Mazzarella
Mazzarella Bros. Productions, Inc
Bristol, CT USA -
[Graeme Nattress] “Use the conform option in Cinema Tools to conform the 24.00fps footage to 23.98fps”
Graeme,
Please, if you would, could you possibly explain what’s going on behind the scenes in FCP when “conform” is doing its thing. I just can’t quite wrap my brain around it without understanding what’s actually happening.
Oh, and is it exactly the same thing that takes place on board a card such as Blackmagic?
THNX,
DRW -
“Conform” just tells a clip to run at a different frame rate. SO if you have a clip at 24.00fps and it should be at 23.98fps, just conform it from one to the other. It will now run slightly slow as you’ve conformed it to a slower speed. Conforming does not add or remove frames or change image data at all. It does not add or remove pulldowns, it just changes frame rate.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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