Panny HDX900P, shooting 24p, but want to minimize pulldown effect

[Jeremy Garchow]

I’d stay away. I thought you said you were working in 720?

[Mark Suszko]

I prefer to work in 720/ 30p, as everything we do is for broadcast and most of it still winds up in SD for final format, but I’m being ordered to shoot in 24p. So, would it work better, set to 24p or 24p Advanced, with the half shutter on, and with the pro-res workflow?

[Mark Suszko]

Also, is there any difference/ advantage in loading the footage into the editing system via the Panasonic HD deck using firewire direct, or thru the deck, via SDI thru the AJA IO box, or by hooking a firewire cable direct to the camera for ingest? Those are my three options for ingest, and maybe one or the other of those methods does a better job?

[Jeremy Garchow]

[Mark Suszko] ” So, would it work better, set to 24p or 24p Advanced, with the half shutter on, and with the pro-res workflow?”

I’ll ask again, are you going to edit on a 24p timeline or 60p?

24p Advanced is 1080. You can put the 1200 or 1400 deck in 23/24 mode and get 1080 23.98 psf out of the SDI, but then you are confined to editing on a 24p timeline.

Since that camera is a 720p camera, I’d stick to shooting 720p, but that’s me. I’m a huge fan of 720p anyway.

[Jeremy Garchow]

[Mark Suszko] “Also, is there any difference/ advantage in loading the footage into the editing system via the Panasonic HD deck using firewire direct, or thru the deck, via SDI thru the AJA IO box”

I’d go SDI to ProRes. Firewire is limited to DVCPro HD only. DVCPro HD is a great acquisition codec, but ProRes (besides being 10bit) is more suited to the rigors of editing. DVCPro HD can fall apart pretty fast. I’d use the deck and a hardware capture card to get the best out that image.

Jeremy

[Mark Suszko]

Thanks for hanging in there with this, Jeremy. I’ll use whatever timeline setting the gestalt here thinks will keep the artifacts low and the graphics quality high, while being reasonable for reder times and etc on an octo-core mac.

My final outputs will be:

1) A DVCProHD tape master

2) An HD file for FTP, burned to a DVD-R as data, that retains the 24p “look”for 30-second spot work.

3) Various dubs down to a center-punched 4:3 and a letterboxed 4:3 SD dub to (ugh) BetacamSP tape for the folks in the hinterlands.