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Panisonic P2 Imports sped up, out of sync??
Hi,
I’ve just finished importing 2 days of Panisonic P2 footage shot with the HPX500
We’re shooting 720p 29.97 and while I’ve handled this format many times, I’ve never run into this issue…The footage is importing “sped up” – the audio is at normal speed but the footage appears to be about 10% faster. There is some kind of improper cadence in the footage but I cant detect the pattern. The audio, of course- just cuts out when the end of the video clip is reached.
So I began investigating;
Well the footage was shot at 720p 59.94 with a 2:2 pulldown… not native 30p, but whatever- a 2:2 pulldown should be pretty straight forward?, right?
I unchecked “remove advanced pulldowns, duplicate frames” from the Log and Transfer window and I’m finally getting clips at the proper speed (and in sync) with a standard 2:2 cadence, which is ok since FCP will just remove every other frame when dropped in a 30p sequence.
The new imports play back- and doing a quick “fit to fill” comparison, the indicated speed of the new clip shows 111% when matched to the duration of the original import.
The camera operator assures me that while they did choose to shoot 30p as opposed to 30pN (for whatever reason) nothing was set to 24p, none of the details in the log and transfer window indicate anything 24p, 23.98 or 3:2 pulldown.
The cadence is proper 2:2 on the P2 cards – we’re talking 30p versus 60p… so my question is this; why the heck am I getting an 11% increase in speed?
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7 Replies
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Why not just edit in a 59.94 sequence and save yourself the grief?
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Well- for one thing… that’s just not the workflow.
This is for broadcast, final delivery is a 1808i 29.97 HDCam SR and the footage in question is only 2 days worth from what’ll ultimately be something like a 12 day shoot. I’m not about to break the field cadence by letting the editor cut in 60p (i’m the post supervisor) when letting the sequence remove a 2:2 pulldown is totally fine anyway.
Secondly, that wasn’t my question.
My question is; why is there an 11% speed change when I allow FCP to remove the 2:2 pulldown? Why does it seem like it’s trying to remove a 3:2 pulldown? My question is about what either appears to be a glitch or an incorrect camera setting and since I’ve already got the solution, I’m now just interested in finding the root of the problem. -
EDIT: I’m very familiar with the P2 DVCProHD, Varicam formats- but not so much the cameras… are there any camera operators that are willing to just explain the settings they have to go through to achieve a 30 frame rate, and any theories as to how an improper pulldown flag might be introduced? It would be greatly appreciated.
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If you use fit to fill, FCP Is going to edit the speed of the clip. Don’t use fit to fill and you won’t get the speed change. Pretty simple.
If you need a 30p frame rate, you shoot 30pN instead of 30 over 60.
Again, pretty simple.
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[Dana Strom] “This is for broadcast, final delivery is a 1808i 29.97 HDCam SR “
Jeremy, please confirm, if this is the goal then 60p is the best framerate. And would going from a 30p timeline and 30p on a 60p give you the same result when mastered to 29.97i?
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If final delivery is 1080i on HDCAM SR, I would have shot 1080i60.
The cameraman needs to be on the same page as the Post team.
Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group -
[Michael Sacci] “if this is the goal then 60p is the best framerate.”
There’s really no ‘best’ one, it’s all about asthetics. When shooting 60p, true 60p, you will get an interlaced 1080i master (each p frame becomes one interlaced field). When editing in a 720p30 timeline, each p frame still becomes one interlaced field, so in the case of 30p, you will end up with a 1080psf30 master. If you shot and edit 720p24, you will get a 1080i master with interlaced 3:2 pulldown.
[Michael Sacci] “And would going from a 30p timeline and 30p on a 60p give you the same result when mastered to 29.97i? “
The footage would then become psf in 1080, but anything that has been done in a true 60p manner (not 30p over 60p) would become interlaced. I would suggest producing any graphics or composites @ 720p30 to have the footage and graphic motion characteristics match. You will end up with a 1080 psf master.
Jeremy
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