Playing 24p (23.98) HD on FCP 29.97 timeline

[Chi-ho Lee]

[Sean ONeil] “Unfortunately this whole 4:2:2:2 thing that FCP does is awful, archaic, and just plain dumb. It is by far my biggest complaint about FCP right now”

You can change the cadence pulldown to suit your needs – In system settings>playback controls – you can pick from 2:2:2:4 to 2:3:2:3. You’re not stuck in 2:2:2:4.

You’ve been able to change this since v4.

-CHL

Chi-Ho Lee
Film & Video Editor
Apple Certified Final Cut Pro Trainer
http://www.chiholee.com

[Mpigott]

[Chi-Ho Lee] “You can change the cadence pulldown to suit your needs – In system settings>playback controls – you can pick from 2:2:2:4 to 2:3:2:3. You’re not stuck in 2:2:2:4.

You’ve been able to change this since v4.”

Err, I’ve tried all this…and the pans on 24p on a 29.97fps timeline
look like trash.

My workaround (extemely disk piggish) is to digitize from the video
out on the XDCAM to 10 bit uncompressed SD, which gives me an anamorphic 16:9 to my 4:3 timeline. The drop down to 29.97 on the
XDCAM is VASTLY superior to the “playback settings” you get with the
native XDCAM output from the SONY software into FCP.

When it is HD 24p to XDCAM timeline at 24p there are no issues,
but as most of our clients still run SD; this is the format of choice.

Anyhow I’ve moved on to the workaround and I am now replacing all my
XDCAM footage with anamorphic SD from the video out of the XDCAM.

[Chris Brown]

We do the same. We shoot in HDCAM 1080/23.98, P2 at 720/24pn or on the Red. If the commercial is destined for SD, letterboxed or 4:3, we edit in a 23.98 SD timeline. Our Blackmagic setup adds the pulldown when we master to tape. If you can, stay in a complete 23.98/24 process, and then convert at the end.

That said, if you have all of your other material in 29.97, then I agreem use the Natress solutions. Or do the conversion out of the deck.