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Stripping 24p standard cadence in FCP
Hello. I am about to begin shooting a documentary with my Panasonic 100A camera. I have experience with the following workflow: shooting with Panasonic 100A 24P advanced, stripping added frames via firewire and working in Final Cut Pro 4.5 at 23.98. and generating a HD 1080i master. All went smoothly. If I shoot at 24P standard, can I strip the cadence in Final Cut Pro 5.0 via firewire or do I need to have an additional hardware card to strip the extra frames? I walked onto the previous project when the project had already been shot in 24pAdvanced so that choice was made for me. But now, because I can choose between 24pAdvanced and Standard I was wondering if anyone out there had a reason why one should choose one over the other?
Thank you
Best
Kari -
6 Replies
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Advanced is a lot easier as it happens upon capture. If you shot 24 Normal, you can’t remove during capture, unless you use something like an aja io or Kona 2 with a dv deck that has analog component or SDI respectively. If you don’t have those capture card components, then you can use cinema tools to remove the pulldown. 24pAdvanced is a much easier workflow as all of the math is done by FCP, and not you. There’s some tricks you have to be aware of to setup the AJA io and Kona which really aren’t hard, but if you have an option to shoot advanced, I’d do it.
Jeremy
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Great. Thank you. I had a feeling that was the case,
but wanted to verify. Thanks. The reason I had a
moment of pause is because I had two different people
say ” never shoot advanced” when I was finishing up
the post process on the other film. Neither person
could explain themselves ( one a sound editor and the
other a graphics adviser at big post house in nyc.) I
understand pull down and cadence, but I wanted to
double check because I had been warned twice but never
given an explanation. Thanks again.
Best
Kari -
Well, it depends on your post house, if they don’t want to work with 23.98 media, then I would listen to them. It’s good you are starting this discussion now. If you are planning for a film out, progressive dvd release, or 1080 24p master advanced is the way to go. If you are making a 1080i 29.97 master then shooting normal will give you 29.97 timeline that will be in lockstep with a 1080i master. You will still have the ‘film look’ but might make your post process easier.
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for most of my documentaries that I KNOW are going to end up on dvd only, and video, i just soot 2p non advanced, capture 29.97 and edit like normal dv.
been working well for me!
-ben
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I am trying to find the path of least resistance and find the safest/cheapest/easiest way to cover all of my bases ( or as many bases as possible) –film out, 1080i, DVD… I think this year most of the film festivals asked for 1080i, 35mm, or Digibeta. ( not that I would end up there, but in my mind I am starting there and working backwards.) I will talk to the two post-houses in town and some producers I know who are a little more festival/distribution savvy than myself. Thanks for feedback. This is helpful.
Best
Kari -
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html should answer your questions!
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
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